000 Treasure.pdf

Running head: TREASURE HUNTING

Treasure Hunting: A Hermeneutical Inquiry into the Final Painting of Liber Novus A dissertation submitted by Kiley Quincy Laughlin to Pacifica Graduate Institute in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Depth Psychology with Specialization in Jungian and Archetypal Studies

This dissertation has been accepted for the faculty of Pacifica Graduate Institute by:

Dr. Keiron Le Grice, Chair

Dr. Joseph Cambray, Reader

Dr. Murray Stein, External Reader

ii TREASURE HUNTING October 14, 2016

Copyright by Kiley Quincy Laughlin 2016

iii TREASURE HUNTING Abstract Treasure Hunting: A Hermeneutical Inquiry into the Final Painting of Liber Novus by Kiley Quincy Laughlin This dissertation employs a hermeneutic methodology via deductive and imaginal approaches which chiefly rely on Liber Novus and Jung’s Collected Works to examine image 169 and critically situate the work in a hermeneutic framework. The purpose of this study is to explore the likely relationship between image 169 and Jung’s personal myth and his individual cosmology. I also consider how image 169 may shed light on the meaning of Jung’s psychology and analyze the figures depicted in image 169. Jung did not realize his personal myth until around 1930, which coincides with the probable year he began painting image 169. From the earliest moments of Jung’s childhood, he experienced elaborate fantasies, which culminated in his confrontation with the unconscious. Between 1913 and 1916, Jung documented his fantasies in a series of black notebooks, which he later transcribed into Liber Novus: The Red Book. Jung’s experiences during this time period compelled him to consider the relationship between the living personality and the community of the dead. Image 169 suggests a pictorial formulation of Jung’s psychology and what I have termed as the apocatastasis of the dead. Both Western and Eastern sources seem to have influenced Jung’s rendering of the image, as evidenced by his study of Zimmer’s Artistic Form and Yoga in the Sacred Images of India, the Shri-Chakra-Sambhara Tantra, and the fantasies of Kristine Mann. Key words: liber novus, personal myth, apocatastasis, the dead, individuation, mandala, self

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Dedication To my late father, Gene Duane Laughlin, who lived to love and loved his life. I could not have navigated the darkness if it were not for the gracious gifts you bestowed to me. Though you are gone, I can still hear you play your guitar beyond the veil. No son could be more proud.

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Acknowledgements Rarely is a destination reached without some roadside assistance along the way. First and foremost, I extend my thanks to my wife Talli and children, Coleman and Malia, who gave me the strength to arrive at the end of a long and arduous journey. Furthermore, I would like to acknowledge several people whose helpful feedback and technical support progressively advanced the dissertation towards its goal, among them, Sonu Shamdasani, Lance Owens, Mark Kyburz, Hugh Milstein, Sherry Salman, Thomas B. Kirsch, Robert Hinshaw, John Beebe, Sanford L. Drob, Paul Bishop, Jay Sherry, Jeanne LaVallee, and Stephen A. Martin. I am also grateful for the steadfast support of my professors: Keiron Le Grice, Joseph Cambray, Jennifer Leigh Selig, Glen Slater, Susan Rowland, Sandra Easter, and Kathryn Madden, whose mentorship and tutelage helped direct the course of my treasure hunting campaign. I would also like to acknowledge The Foundation of the Works of C. G. Jung, W. W. Norton and Company, and DigitalFusion for granting me permission to reproduce images from Liber Novus. Special thanks is given to Murray Stein, Andreas Jung, and Thomas Fischer, all of whom played an essential role in the development and articulation of the research topic.

vi TREASURE HUNTING Table of Contents Chapter 1. Introduction ........................................................................................................2 Introduction to the Research Topic ..........................................................................2 Researcher’s Relationship to the Topic ...................................................................9 Definition of Terms................................................................................................15 Personal Myth ............................................................................................15 Individual Cosmology................................................................................18 Weltanschauung .........................................................................................21 Relevance of the Topic for Depth Psychology .....................................................23 Relevance of the Topic for Other Fields ................................................................30 History of Ideas ..........................................................................................30 Religious Studies .......................................................................................31 Mythological Studies .................................................................................32 Statement of the Research Problem ......................................................................35 Statement of the Research Question(s) .................................................................38 Chapter 2. Literature Review .............................................................................................40 Summary of Relevant Research Domains .............................................................40 Literature Relevant to the Topic ............................................................................41 Liber Novus ................................................................................................41 Biographical Resources .............................................................................53 Psychological Perspectives ........................................................................71 Secondary Psychological Sources................................................116 Color Symbolism in Jung’s Psychology ......................................125 Religious Perspectives .............................................................................132

vii TREASURE HUNTING Eastern Religion ...........................................................................132 Western Religion .........................................................................145 Artistic and Aesthetic Perspectives ..........................................................148 Mythological and Literary Perspectives ..................................................153 Odysseus ......................................................................................156 Dante ............................................................................................161 Swedenborg..................................................................................164 Goethe ..........................................................................................166 Nietzsche ......................................................................................168 Scientific Perspectives .............................................................................171 Chapter 3. Methodology and Procedures .........................................................................177 Research Approach ..............................................................................................177 Research Methodology ........................................................................................179 Ethical Considerations .........................................................................................187 Limitations/Delimitations of Study......................................................................188 Chapter 4. Prelude to 1913: Evolution of Jung’s Personal Myth ....................................191 Dream of the Subterranean Phallus......................................................................191 A Secret in the Attic .............................................................................................194 Death of the Father...............................................................................................201 The Medium .........................................................................................................210 Chapter 5. Liber Novus and C. G. Jung’s Apocatastasis of the Dead ..............................218 Liber Primus.........................................................................................................222 Liber Secundus.....................................................................................................228

viii TREASURE HUNTING Scrutinies..............................................................................................................252 Chapter 6. Image 169 in Context .....................................................................................274 Rainbow Burst .....................................................................................................276 Analytic and Clinical Sources ..................................................................277 Cross-cultural Sources .............................................................................281 Blue Lotus-Flower or Star? ..................................................................................290 Blue Lotus-Flower ...................................................................................291 Blue Star...................................................................................................305 Faces and Skulls ...................................................................................................308 Implications for Understanding Jung’s Personal Myth .......................................316 Implications for Understanding Jung’s Psychology ............................................321 Chapter 7. Conclusion ......................................................................................................325 Restatement of Findings ......................................................................................325 Relevance of Findings to Fields Other than Depth Psychology ..........................328 The Psychological Problem of Authorship ..............................................329 Psychopathological Considerations .........................................................337 History of Ideas ........................................................................................339 Psychology and Religion .........................................................................340 Areas in Need of Further Research ......................................................................341 Post-Mortem Psychic Phenomena ...........................................................342 Psychic Patterns in Genealogy and Heredity ...........................................344 Soteriological Considerations in Depth Psychology................................347 Final Observations ...............................................................................................350

ix TREASURE HUNTING References ........................................................................................................................352 Appendix A. Hermeneutic Analysis of Image 169 ..........................................................370 Appendix B. Supplementary Comparative Analysis .......................................................383 Appendix C. Timeline......................................................................................................391

The style used throughout this dissertation is in accordance with the Publication Manual of the American Psychological Association (6th Edition, 2009), and Pacifica Graduate Institute’s Dissertation Handbook (2015-2016).

x TREASURE HUNTING List of Figures

Figure 1.

Image 169 of Liber Novus ...............................................................................1

Figure 2.

Moray Inca Ruins ..........................................................................................13

Figure 3.

Jung’s faint handwriting on image 169 .........................................................24

Figure 4.

Helene Preiswerk’s “Mystic System” ...........................................................79

Figure 5.

Jung’s Systema Munditotius ..........................................................................79

Figure 6.

Unidentified figure in image 169 ................................................................152

Figure 7.

The Distributor of Crowns...........................................................................153

Figure 8.

Likeness of Odysseus ..................................................................................161

Figure 9.

Likeness of Dante ........................................................................................163

Figure 10. Likeness of Emanuel Swedenborg ..............................................................165 Figure 11. Likeness of Goethe ......................................................................................168 Figure 12. Deductive Research Method........................................................................177 Figure 13. Image 163 of Liber Novus ...........................................................................281 Figure 14. Image 105 of Liber Novus ...........................................................................282 Figure 15. Image 121 of Liber Novus ...........................................................................294 Figure 16. Image 159 of Liber Novus ...........................................................................298 Figure 17. Dante’s Celestial Rose .................................................................................299 Figure 18. Original draft of Systema Munditotius ........................................................306 Figure 19. Final version of Systema Munditotius .........................................................306 Figure 20. Legend to image 169 ...................................................................................370 Figure 21. Christ Pantocrator mosaic............................................................................383

xi TREASURE HUNTING Figure 22. The Last Judgement fresco ..........................................................................385 Figure 23. The Choirs of Angels...................................................................................386 Figure 24. Tibetan Buddhist Painting ...........................................................................387 Figure 25. Vajradhatu Mandala ....................................................................................388

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Figure 1. Image 169 (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

2 TREASURE HUNTING Chapter 1 Introduction Introduction to the Research Topic Carl Gustav Jung was a Swiss psychologist who lived between 1875 and 1961. Jung is best known as the founder of analytical psychology (i.e., complex psychology) which is predicated on the idea that the human personality has a natural tendency to seek out psychic wholeness. While developing and refining his psychology, Jung introduced an entire lexicon of psychological terms that would eventually find widespread use in public discourse—extraversion, introversion, individuation, archetypes, for example. Jung spent the first nine years of his professional career working at the Burgholzi Psychiatric Hospital (1900-1909) in Zurich, Switzerland, where he pioneered the word association experiment and further developed the concept of the complex.1 Jung collaborated with Sigmund Freud between 1906 and 1913. Theoretical differences gradually led to a professional schism between the two men, which culminated with Jung’s publication of Transformations and Symbols of the Libido in 1912. This book was subsequently published in English in 1916 as Psychology of the Unconscious and an extensive revision of the said work (German version) was published in 1952 as Symbols of Transformation. To avoid confusion, nearly all instances of this book hereafter will be referred to as Symbols of Transformation. After his break with Freud, Jung found himself professionally isolated. His socalled fallow period could be described as an intense introversion of libido which activated unconscious material that had hitherto remained dormant within Jung’s psyche—a comprehensive term used to describe the totality of psychic processes, both

1

German psychiatrist Theodor Ziehen (1862-1950) had previously coined the term.

3 TREASURE HUNTING conscious and unconscious. Jung (1912/1967) viewed libido, a concept that I will later revisit, as an energy value present in the psyche that manifests in a range of human activities including sexuality, creativity, religion, and other cultural phenomena (CW5, para. 197). In his autobiography, Jung (1961/1989) described this time period as a confrontation with the unconscious: From the beginning I had conceived my voluntary confrontation with the unconscious as a scientific experiment which I myself was conducting and in whose outcome I was vitally interested. Today I might equally well say that it was an experiment which was being conducted on me. One of the greatest difficulties for me lay in dealing with my negative feelings. I was voluntarily submitting myself to emotions of which I could not really approve, and I was writing down fantasies which often struck me as nonsense, and toward which I had strong resistances. (p. 178) Thus, between 1913 and 1918 Jung explored his fantasies by dialoging with the personified images that arose from the unconscious. The result of this process was a series of journals filled with notes describing Jung’s fantasies and active imaginations. The journals consisted of one brown and six black notebooks. Jung initially transcribed the black book material onto a handwritten draft, which he later transposed to typescript. In at least one of the manuscripts he added corrections by hand. Jung then transcribed the corrected draft to a series of parchment sheets. These seven double-sided sheets or folios consist of what is known as Liber Primus, the first part of Liber Novus. In 1915, Jung purchased a 600-page book bound in red leather. The spine of Jung’s Red Book was embossed with the words Liber Novus (i.e., New Book). In this

4 TREASURE HUNTING book, Jung continued to transcribe his journal material from where he left off in Liber Primus. Part three of Liber Novus is titled Scrutinies, which Jung was not able to transcribe to Liber Novus during his lifetime. The physical Red Book itself consists solely of a calligraphic volume containing the majority of Liber Secundus and 532 complete illustrations. Jung completed the original draft of Liber Novus in 1917, although he continued to make emendations in the text until the late 1920s (Hillman & Shamdasani, 2013, p. 109). Jung managed to fill 191 pages of the book with calligraphic text and paintings. After Jung died in 1961, his heirs kept Liber Novus in a locked cupboard at his residence in Kusnacht, Switzerland, until it was moved to a Swiss safe deposit box in 1983 (Hoerni, 2009, p. viii). The book remained there until the California-based company DigitalFusion was hired to scan Liber Novus in 2007. Since its publication in 2009, Liber Novus, has attracted a substantial amount of interest among specialists and laypersons alike. The book’s contents seem to prefigure major ideas in Jung’s psychology. Accordingly, Liber Novus, and its concomitant illustrations, may be viewed as the original blueprint for what would become a comprehensive psychological system. Whether this is the case it or not, it is difficult to dispute that further study of Liber Novus and its elaborate paintings can teach us a great deal about the origins and meaning of Jung’s psychology. This dissertation consists of a hermeneutic study that explores how the painting on page 169 of the calligraphic volume, hereafter referred to as image 169 (Figure 1), relates to C. G. Jung’s personal myth and individual cosmology through a depth

2

This number is limited to the illustrations that fill an entire page in the calligraphic volume. It does not include historiated initials which suggest a pictorial scene in their own right; nor does the number include the ornamental borders which in some cases contain thematic depictions.

5 TREASURE HUNTING psychological lens. Because this research topic makes up a speculative inquiry of image 169, I have likened the research process to a treasure hunting expedition, which explains the title of this dissertation. Image 169 is Liber Novus’ final painting which Jung apparently left unfinished—he did not finish coloring in the image. Furthermore, the image seems not to have anything to do with its attendant narrative but consists of a stand-alone active imagination that Jung painted on page 169. Image 169 stands out as an anomaly among the illustrations found in Liber Novus. Its imagery broadly departs from the figurative and abstract style consistent with the other paintings. Beyond the fact that image 169 is the final painting in Liber Novus not much is known about it. Sonu Shamdasani, a noted historian of Jung’s work, has estimated its date of creation as around 1930 (personal communication, March 26, 2014). After examining the text on page 168 of the calligraphic volume and cross-checking it with the translated section on page 321, I observed that the literary content—the description pertaining to the image—does not correspond to what is thematically depicted in image 169, which, among other details, consists of a star-like orb and a rainbow burst encircled by a throng of faces and skulls. I found this peculiar because some—though not all—of Jung’s illustrations in Liber Novus directly or indirectly support their concomitant narrative. Sanford Drob (2012), a psychologist and scholar specializing in Jewish mysticism, similarly observed that starting with Liber Secundus, part two of Liber Novus, the images do not principally support the text but rather produce a secondary layer of narrative that is composed purely of images (p. xx). The varied and nuanced degree by which Jung intended to employ the paintings as supporting illustrations is evidenced by

6 TREASURE HUNTING the thematic structure of each image which begins to depart from the narrative structure after Liber Primus. Because of my initial assumptions, that the text directly corresponded to the illustrations, I surmised that image 169 had something to do with the Cabiri, ancient Phrygian chthonic deities whose origins can be traced geographically to Samothrace. They were frequently linked to sailors and due to their association with the cult of Hephaestus are depicted as craftsmen. The Cabiri could be viewed psychologically as personifications of creative impulses that underpin psychic experience and which played a prominent role in Jung’s personal myth starting as early as his childhood (Jung, 1961/1989, p. 23). I attributed my analysis to the fact that image 169 is collocated with passages that address Jung’s imaginal encounter with the Cabiri in the calligraphic volume (Jung, 2009, pp. 166-167). However, I eventually located a book entitled An Illustrated Biography of C. G. Jung (Wehr, 1989). Wehr’s illustrated biography contains an image that seems to artistically depict the scene in Liber Novus with the Cabiri. In fact, the image looks as though it belongs in Liber Novus. The noted anomaly prompted me to contact Shamdasani, who responded to my inquiry as follows: “You are right in seeing that it has nothing to do with the transcribed text” (personal communication, March 26, 2014). In fact, he went on to quote the passage that Jung inscribed on its back: The Cabiri: We hauled things up, we built. We placed stone upon stone. Now you stand on solid ground. . . . We forged a flashing sword for you, with which you can cut the knot that entangles you. . . . We also place before you the devilish, skillfully twined knot that locks and seals you. Strike, only sharpness will cut through it. . . . Do not hesitate. We need destruction since we ourselves are the

7 TREASURE HUNTING entanglement. He who wishes to conquer new land brings down the bridges behind him. Let us not exist anymore. We are the thousand canals in which everything also flows back again into its origin. (Jung, as cited by Shamdasani, 24 December 1917) The foregoing passage is repeated verbatim on pages 166-167 of the calligraphic volume and page 321 in the translated section. So Jung had other artistic renderings that for unknown reasons were not included in the edited version of Liber Novus. Lance Owens, an independent scholar of Liber Novus, also provided some background regarding how Liber Novus was assembled: While working on the book itself, he [Jung] painted several other images. These were never intended for the book—the book was being filled independently, page by sequential page in the bound volume of blank pages. These independent pictures clearly reflect events in the text—they were a form of “active imagination” and further consideration of the visions he had had between 1913 and 1916. Most of these paintings were done between about 1915 and 1920 (or so it seems). As Jung worked on the transcription into the Red Book, other images came. And he painted them as separate creations. (personal communication, May 24, 2014) Shamdasani similarly pointed out the following: “Initially, the paintings refer directly to the text. At a later point, the paintings become more symbolic and can be regarded as active imaginations in their own right” (2012, p. 117). Image 169’s inclusion in Liber Novus has then given rise to a series of basic misunderstandings because laypersons and specialists alike tend to view the accompanying illustrations as visual amplifications of

8 TREASURE HUNTING the text, but in some instances this is clearly not the case (e.g., images 155, 159, 163, & 169). In another email, Shamdasani was asked why the image in Wehr’s book was not included in Liber Novus and he responded as follows: “it was hard enough to get the book published as it was, without requesting further additions, which would not have been possible” (personal communication, April 23, 2014). Furthermore, Shamdasani advised against pursuing image 169 as a research topic: Regarding the feasibility of a hermeneutic study of the painting, I am really not certain how far one can go without more actual documentary information from Jung about this painting. In general, with regard to timing, I think the best time to try to get to grips with the paintings from 1916 onwards will be after the Black Books are published in a few years’ time, so one can follow the further development of his personal cosmology in much more detail. In the meantime, there is so much in the text that repays closer study and one would be on much firmer, and less speculative ground here. (personal communication, March, 26, 2014) Given Shamdasani’s observation, I recognize that due to limited primary sources and documentary information, any extensive inquiry into the image 169 would be problematic, and that is why it seems important to rely on comparative, constructive, and amplificatory methods in order to properly situate the image in Jung’s personal myth and individual cosmology. Regardless of Shamdasani’s misgivings regarding the viability of the research topic, I felt that it still warranted further scholarly study and research. Shamdasani has approached the material principally as a historian. A historical approach is adequate for constructing a timeline and highlighting turning points in the development

9 TREASURE HUNTING of Jung’s work, but in my view does not sufficiently address the interpretation of meaning of a particular phenomenon or image. Thus, I think by approaching the research topic through an alternate methodology and lens, one could discover an insight or clue that has heretofore been overlooked. Original and speculative thinking can reveal hidden connections by approaching a problem or question from a different angle. In fact, one could view speculative inquiry as a core depth psychological modality because of the role speculation plays in the image-making faculty of the psyche. Some of the most imaginative discoveries came about as a result of speculation and Jung (1931/1969a) rightly understood that “to penetrate the darkness we must summon all the powers of enlightenment that consciousness can offer . . . we must even indulge in speculations” (CW8, para. 752). Furthermore, I am of the opinion that study of Liber Novus should not be restricted to one particular approach. I feel strongly that image 169 has something important to tell us not only about C. G. Jung, but about the implicit meaning of his psychology. Researcher’s Relationship to the Topic My interest in C. G. Jung and his ideas first took root in 1993. I was a senior in high school and my English teacher briefly mentioned Jung as a footnote to Freud. The teacher also said that Jung introduced the idea of the collective unconscious. The idea of a collective layer of the psyche immediately drew my attention. Years later the original seed that took root during my adolescence began to sprout during my adulthood. This interest coincided with my completion of undergraduate work in college. I subsequently tried to enroll in a Jungian Master of Arts program at Sonoma State University in Rohnert Park, California, not long after completing my Bachelor of Arts degree. However, I was

10 TREASURE HUNTING not accepted into the program. Thus, I turned my interests elsewhere and took a lengthy hiatus from academia by returning to the military where I traveled abroad for a number of years. While I was deployed in Iraq, C. G. Jung and his ideas returned to me in full force and not long after I investigated other depth psychology graduate programs. During this time, I had a series of powerful dreams that seemed to scratch at the original sprout that had taken root years prior. Depth Psychology views dreams as important symbolic guideposts that can shed light on one’s psychic development. On June 12, 2007, I had what Jung would likely call a big dream. That the dream was surreal is an understatement, for it had a particularly polymorphous and fluid quality. In the dream, I was accompanied by a female and we were traveling to an unknown destination. My journey eventually took us into a subterranean lair in the form of a cave. As we explored labyrinthine caverns and tunnels I bumped into a strange archetypal figure, whose shape could only be described as large and blockish. He reminded me of a black tar creature I saw on an episode of Star Trek: The Next Generation. I also observed that he was accompanied by a female consort. His presence evoked a sense of numinosity and respect. After I bumped into him he pricked me with what looked like a military insignia clip or what we refer to in the Army as a “rank damn it.” I felt the sting of the prick and asked what will happen to me. He then explained that my tooth would fall out. He was very specific and identified the tooth as my right molar. I continued my trek through the cave and eventually came out on the other side. I found myself atop an embankment on the side of a mountain. I saw a white house-like structure on my left. I thought it was a radio station although I cannot say for sure. It was

11 TREASURE HUNTING as if the structure were emitting radio pulses. I felt that something special was taking place there. I then saw a house on a higher plateau on the mountain. The mountain appeared terraced with each plateau constituting a different level. I was able to climb up to the next terraced level where my house resided. After I reached the next plateau I realized that the house I saw from the lower terraced plateau was actually a smaller replica of my house. In fact, it was a mail box shaped like a house. The miniature house was white. I finally saw my own house on the embankment nestled further in. A former student, a young man in his teens, appeared before me and motioned to the vista. I looked out to see the world below. The terraced mountain was populated by a seamless pattern of red roof tops consisting of what appeared to be red terracotta tile. The young man commented on the descending rooftop patterns that from our vantage point we could discern quite clearly and which stretch all the way into town miles away. The pattern was quadrangular and each chain of rooftops appeared to circumnavigate the mountain. The young man pointed out that a person could seemingly hop down from rooftop to rooftop all the way into the town below. I looked down and realized that if I were to slide down the rooftops on a piece of cardboard the approximate route would take me into a distant swimming pool. I then realized that the pool was located at the Rio Rancho Motel, a low-income temporary housing option where my family stayed for a brief sojourn during my childhood. As I looked closer at the red geometric structure, I was awestruck by its beauty and symmetry. The center of it started at my house, or at least this is what it seemed like. The geometric pattern extended below and demonstrated order and meaning. It appeared, and perhaps this is the best way to describe it, to be an inverted terraced pyramid with my

12 TREASURE HUNTING house located near or on the top. The color red was particularly dazzling from above. As the pattern extended out and descended each lower level of the mountain, it gradually blended into a more urban landscape. The spectrum was rural at one end and suburban bordering metropolitan at the other end. The red pyramid moved and shifted around. It was as if it were alive. Given the scope of this so-called big dream, one could say that something was constellated within my psyche which prompted me to investigate depth psychology graduate programs and institutions that had a Jungian and Archetypal emphasis. I eventually discovered Pacifica Graduate Institute, which fortuitously redirected the course of my life, ultimately landing me where I am today. Regarding the abovementioned dream, some explanatory remarks are in order. Understandably, I initially did not know what the dream meant. More recently, however, I have started to feel my way into the dream and its attendant imagery, which has deepened my hermeneutic understanding of it. The dream apparently sought to communicate an insight by using the best symbols that the psyche could summon formed from both archetypal and personal content. The subterranean dwellers suggest Cabiri-like figures, misshapen and invisible, that occupy the hidden world just below the threshold of consciousness. The dream took place near where I grew up in Marysville, California. In fact, the dream geography was near my grandparents’ ranch in the foothills where my brother and I spent most of our weekends. In the archetypal sense, the location could be construed as the “land of the children” and a logical annex of my own personal unconscious. At the end of the dream, what seemed like the climax, I encountered what I would later interpret as an image of wholeness—the inverted pyramid. Of course, it would not be entirely accurate to call it a pyramid. As indicated, it possessed a certain

13 TREASURE HUNTING fluid and living quality as though it were reacting to my observations. I later located a real world archeological site that strongly resembled the image in the dream (Figure 2). The Incan site is called Moray and is located in Cusco, Peru. The geography looks similar to what

Figure 2. Moray Inca ruins, Cusco, Peru. Public domain.

appeared in my dream long before I had any knowledge of such a man-made phenomenon. It consists of a series of sprawling circular depressions likely used for agricultural purposes. Lastly, the center of the inverted pyramid was represented by a pool of water that I recalled from my childhood, which partially parallels Jung’s (1961/1989) Liverpool dream (p. 198). The image reminds me of the alchemical idea of the “terra rubra” (i.e., red earth), which is another form of the prima materia. In alchemy, the prima materia refers to the principal substance used to create the philosopher’s stone, which was the ultimate goal of the alchemical opus. Viewed psychologically, one could say that the philosopher’s stone represents a symbol of wholeness that arises from the unconscious. The justification for analyzing and amplifying these images is to highlight the development of my own psyche through the content of the dream and to demonstrate how dream amplification works. I purchased a copy of Liber Novus as soon as it was available in October 2009. Ever since first acquiring the book image 169 has sparked my interest. As I have previously suggested, the picture seemed distinct from the other illustrations in Liber Novus, both in style and content. The painting’s peculiarity prompted Jay Sherry, an author specializing in Jungian topics, to opine: “It is a strange picture, Jung is looking

14 TREASURE HUNTING into humankind’s eternal face; I don’t know of any other sources on it, I think it came as a shock to all of us” (personal communication, June 23, 2014). When I look at the picture it is as if the image is speaking to me in a language I can only dimly understand. In fact, in some inexplicable way, when I explore the image its faces seem to almost come alive. In this way, the image possesses a quasi-living quality that I cannot adequately articulate in words. Jung seems to have first arrived at an understanding of the independent reality of the psyche, the living meaning of phenomena, circa 1913. In Liber Novus, Jung (2009) wrote that “The wealth of the soul exists in images” (p. 232). This passage apparently underscores the primacy of image, or what Jung would later formulate as esse in anima, a psychological postulate based on psychic realism (i.e., the reality of the psyche). Jung (1921/1971) further expounded on the same postulate in Psychological Types: “Living reality is the product neither of the actual, objective behavior of things nor of the formulated idea exclusively, but rather of the combination of both in the psychological process, through esse in anima” (CW6, para. 77). Jung’s psychic realism is clearly based on the idea that the psyche is indispensable to experience: “The psyche creates reality every day” (para. 78). Jung (1989/2012) subsequently provided further explanation of his psychological postulate in a 1925 lecture series: Our idea is esse in anima. This principle recognizes the objectivity of a world outside ourselves, but it holds that of this world we can never perceive anything but the image that is formed in our minds. We never see an object as such, but we see an image which we project out upon the object. (p. 144)

15 TREASURE HUNTING According to Jung (1926/1969), the psychological standpoint reconciles the realistic and idealistic positions (CW8, para. 624), and is predicated on an intermediate world of images (i.e., soul) as a tertium between idea and thing. The psychological postulate, esse in anima, would subsequently become the bedrock of his psychology: The esse in anima admits the subjective nature of our world perception, at the same time maintaining the assumption emphatically that the subjective image is the indispensable link between the individual entity, or entity of consciousness, and the unknown strange object. I even hold that this case of the subjective image is the very first manifestation of a sort of transcendent function that derives from the tension between the entity of consciousness and the strange object. (1989/2012, p. 145) Thus, it is as if the living psyche within the image has invited me to explore its depths and origins in order to clarify its meaning. Definition of Terms Because of their unique usage and nuanced meaning respective to the subject matter, there are three important terms that require definition. As indicated, the research question explores the relationship between image 169 and Jung’s personal myth and individual cosmology. Yet, one may understandably ask just what is a personal myth and an individual cosmology, and how should one apply these terms in the context of the overall study? I will aspire to define these terms based on their intended usage within the dissertation. Furthermore, because of the way the term applies to the overall formulation of Jung’s psychology, I will dedicate a section to the term weltanschauung. Personal myth.

16 TREASURE HUNTING Prior to explaining what a personal myth is, it is first necessary to turn to the meaning of the term myth in general. According to the late folklorist Alan Dundes (1984), “a myth is a sacred narrative explaining how the world and man came to be in their present form” (p. 1). Jung (1954/1968a) proposed a more psychological understanding of the term: “myths are first and foremost psychic phenomena that reveal the nature of the soul” (CW9i, para. 7). So in my own words, I suggest that a myth is a story that addresses the origins, meaning, and purpose of the world and life in often symbolic and dramatic terms. The mythologist Joseph Campbell (1991) believed that what we are ultimately seeking “is an experience of being alive, so that our life experiences on the purely physical plane will have resonances within our most innermost being and reality, so that we actually feel the rapture of being alive” (p. 5). Thus, myth suggests that one principally derives a meaning of life through an experience of life. Each of us has a story that when read into at a depth psychological level can reveal something symbolically true at an objective level, which is to say, one’s personal myth coincides with the same mythological narratives that have repeated themselves time and time again since the dawn of humankind. Jung’s personal myth in the context of the research question refers to the overarching narrative that defined his life. Jung (1961/1989) believed that he had lived a personal myth, one of which he commented on at the end of his life: “Thus it is that I have now undertaken, in my eighty-third year, to tell my personal myth” (p. 3). Jung also mentioned the idea of a personal myth while alluding to his famous Liverpool dream: This dream brought with it a sense of finality. I saw that here the goal had been revealed. One could not go beyond the center. The center is the goal, and

17 TREASURE HUNTING everything is directed toward that center. Through this dream I understood that the self is the principle and archetype of orientation and meaning. Therein lies its healing function. For me, this insight signified an approach to the center and therefore to the goal. Out of it emerged a first inkling of my personal myth. (p. 199) Thus, by relating image 169 to Jung’s personal myth, I seek to articulate just how image 169 likely figures into the basic narrative of his life, which Liber Novus, and by extension image 169, are a part of. In this way, Jung viewed myth as an appropriate way to impart his life story. It is helpful to share a personal anecdote to demonstrate the relevance of a personal myth to the average person. As a boy, I enjoyed nothing better than playing with my G. I. Joe action figures. In retrospect, it is clear that I was projecting a mythic narrative into these objects during the course of play. Each action figure had a specific role that he or she played in the underlying narrative that served to advance the development of the characters and the story. Lengthy battles and dramas ensued in which I constructed an elaborate mythology that developed in stride with my own personal growth and maturation. This childhood ritual seems to coincide with what Jung called the myth-making function of the psyche, which I will later discuss. Furthermore, when I was 24 years old, I began to write down my own fantasies, dreams, and observations in a little green book, which spanned the course of nearly three years. The green book has been followed by five black books that I continue to write in to this day. By looking back at the entries over the years, I can see not only instances of my psychological development,

18 TREASURE HUNTING but as evidenced by my dreams and fantasies, a mythic narrative that, in my view, is consistent with the idea of a personal myth.

Individual cosmology. The term cosmology has several usages and can be used to describe a wide range of interrelated concepts. Etymologically, the word in Greek suggests a system of order. In his dialogue Timaeus, Plato equated the cosmos with a world order that is founded on eternal and perfect forms. In Plato’s cosmology, the central aim was not to explain but to mythologize. Plato’s conception of the world is an imaginative endeavor and he accepted that his model of the world is merely a likely model, an approximation that is only provisionally valid. According to Plato, any cosmological picture, to include the Timaeus, can only be a provisional one (Cornford, 1937, p. 23). This observation is consistent with the viewpoint of Stephen Hawking and Leonard Mlodinow (2010), whose idea of modeldependent realism will further be discussed in the literature review. Plato chose to describe his cosmology in terms of a cosmogony—a story that contains events of mythic import. In this way, Plato’s account of his cosmology is better approached through the lens of myth than science. Thus, one could say that Plato’s cosmology closely parallels in style and content the one that Jung depicts in Liber Novus. However, whereas Plato identified the intellect (e.g., nous) and necessity (i.e., ananke) as the first principles in his cosmology, Jung gave priority to the reality of the psyche. The Timaeus consists of a discourse on the nature of the universe and of humankind. Plato’s approach was unique in that it is a “top-down” model, starting from the vantage point of the divine craftsman and universal forms that model all of

19 TREASURE HUNTING phenomenal reality. Plato envisioned the entire world as an animated being, a “living creature with soul and reason” (Cornford, 1937, p. 34). Furthermore, Plato supposed that primary bodies or substances comprise his cosmos, which he refers to as the four classical elements of fire, air, water, and earth. Plato then, like Jung, had an affinity for quaternities. Jung’s position was arguably founded on a range of neo-Platonic positions, which is evidenced by the commonalities present within Jung’s psychological ideas and Plato’s philosophy. To be clear, Jung’s cosmology, like Plato’s Timaeus, suggests a weltanschauung, a comprehensive view of life, individual, and world. Whereas Plato articulated his cosmological scheme via the Socratic dialogue known as Timaeus, Jung laid out his own in a psychological system, whose roots can be traced to The Black Books and Liber Novus, which some have equated to the germ of what would eventually develop into analytical psychology. Thus, Liber Novus, as others have suggested, seems to be the foundational primer of Jung’s own weltanschauung. Aristotle, on the other hand, viewed the cosmos as the visible universe and the order that pervaded it. Although Aristotle was a harsh critic of Plato’s Timaeus, he too constructed a cosmology based largely on historical and philosophical antecedents as well as his own intuitions and observations. Aristotle (1941/2001) alluded to his own cosmological model in his essay On the Heavens. One could say that Aristotle’s cosmology was delimited by the scientific tools he had at his disposal during the fourth century BCE. A cursory reading of On the Heavens demonstrates to what extent his knowledge was mired by his own subjective experiences of the world as immediately presented to him. Aristotle observed that: “We cannot reasonably attribute to anything

20 TREASURE HUNTING any characteristic but those which observation detects in many or all instances” (p. 419). Thus, he aspired to construct a natural cosmology predicated on two central factors: (a) observation and (b) reason (i.e., logos). Modern science has used the term cosmology to describe the study of the origins, structure, and fate of the universe. Jung’s individual cosmology could be viewed as his own unique psychocosmology, which was psychically constructed by his fantasies, complexes, ideas, and other formative factors. In this way, Jung’s individual cosmology strongly suggests a psychocosmology because of the role psychic reality played in shaping and arranging his core ideas. Although they are related, Jung’s individual cosmology should not be confused with his personal myth. The former implies a series of primary and intermediate relationships between principal ideas and experiences that schematized Jung’s psychology whereas the latter consists of a basic symbolic narrative. Liber Novus as a whole could be viewed as Jung’s attempt to articulate an individual cosmology based largely on the visionary experiences he had between 1913 and 1916. Shamdasani (2009) underscored this point in his introduction to Liber Novus by comparing Jung with Dante: There are also indications that he read Dante’s Commedia at this time, which also informs the structure of the work. . . . But whereas Dante could utilize an established cosmology, Liber Novus is an attempt to shape an individual cosmology. (p. 202) The central difference between the cosmology that Dante articulated in his Commedia (i.e., The Divine Comedy) and Jung’s individual cosmology is that Dante imported an exclusive Christian schema into his fantasies and literary allusions whereas Jung created

21 TREASURE HUNTING an amalgamated cosmology that was derived from a range of philosophical, scientific, and mythological sources. Liber Novus suggests that Jung’s (2009) cosmology, as described, principally relied on the following sources: neo-Platonism (pp. 207, 315), Philo Judeaus (p. 268), neo-Kantianism (p. 234), Goethe’s natural philosophy (pp. 201, 206, 211, 212, 213, 229, 260, 302, 312, 320, 352), Schopenhauer’s philosophy (pp. 195, 274, 293), Nietzsche’s ideas (pp. 195, 202, 207, 211, 212, 287, 293, 296, 297, 299) , Christianity3, Gnosticism (pp. 201, 205, 206, 207, 244, 246, 252, 255, 271, 346, 348, 349, 359), the alchemical tradition (pp. 219, 220, 231, 239, 243, 252, 268, 272, 297, 305, 306, 317, 320, 321, 337, 338, 346, 347, 358), Eastern philosophy (pp. 211, 317), and Western mythological antecedents. In regards to the research question, it is also helpful to consider to what degree Jung’s personal myth and his individual cosmology contributed to the formation of his weltanschauung. Weltanschauung. The term weltanschauung translates literally to “a looking about the world,” which evokes the meaning of the Greek theoria—that is, contemplation or speculation. In fact, etymologically the terms closely parallel one another. Due to its nuanced meaning in English, Jung (1931/1969b) was very precise with his usage of the term weltanschauung and described it “as an attitude that has been formulated into concepts” (CW8, para. 689). Jung further designated attitude as a psychological term: “a particular arrangement of psychic contents oriented towards a goal or directed by some kind of ruling principle” (para. 690). One could say that a weltanschauung consists of an arrangement of psychic

3

The Christian references in Liber Novus are too numerous to mention.

22 TREASURE HUNTING contents that is provisionally bounded to and directed by a set of dominant principles within the zeitgeist. One cannot extricate the psyche from one’s conception of the world, which is an idea that Jung well understood: “The conception we form of the world is our picture of what we call world. And it is in accordance with this picture that we orient ourselves and adapt to reality” (para. 697). Jung further wrote that All conscious awareness of motives and intentions is a Weltanschauung in the bud; every increase in experience and knowledge is a step in the development of a Weltanschauung. And with the picture that the thinking man fashions of the world he also changes himself. (para. 696) The implication is that the weltanschauung is the representation of the world contained in the psyche of the individual or collective at any given time. Jung’s principal insight was that the weltanschauung is constantly evolving in lockstep with the development of consciousness which necessitates a process of reciprocation between the psyche and the world. In this way, Jung’s use of weltanschauung seems more grounded in Arthur Schopenhauer’s philosophy, which states that the world consists of two basic fundaments: will and representation (i.e., psychic image). All of the abovementioned ideas—individual cosmology, personal myth, and weltanschauung—are related. Jung’s cosmology was the map, his personal myth was the narrative, and the weltanschauung was the emerging world picture implicit within the basic postulates of analytical psychology. Furthermore, Jung refused to equate analytical psychology with a weltanschauung, stating that science in itself is not a weltanschauung but can be used as a

23 TREASURE HUNTING tool to evaluate the assumptions and validity of such a system. Psychology as a science can foster the creation of a weltanschauung, but will forever fall short of its goals if it claims to be one. In this way, Jung suggested the following: “I think I have made it clear enough in the present discussion that analytical psychology, though not in itself a Weltanschauung, can still make an important contribution to the building of one” (para. 741). Another way to put it is that analytical psychology, like any empirical science as a whole, works best when it aspires to “kindle a light in the darkness of mere being” (Jung, 1961/1989, p. 326). One could go as far as to say that Jung’s psychology, with its synthetic impulse, seems uniquely geared to build up a weltanschauung—“an attitude that has been formulated into concepts” (Jung, 1931/1969b, CW8, para. 689). One of the principal aims of C. G. Jung’s psychology then seems to be the translation of psychic experience into concepts or said another way, to operationalize the psyche. Shamdasani (2010) has made a similar connection: “If as Jung claimed Dante and Blake clothed visionary experience in mythological forms, could we not pose the question that Jung in turn attempted to clothe visionary experience in conceptual psychological forms?” (p. 15). Jung also acknowledged the important role of myth in his psychology, which has both pedagogical and cosmological functions. Myths could be viewed as revelations of the preconscious psyche. In fact, whereas the dream is a door to the individual unconscious, mythology could be viewed as the collective dream of humankind. Thus, myth serves a role in the development of any cosmological system, and not only can they inspire the human impulse to create, but they can instruct. Relevance of the Topic for Depth Psychology

24 TREASURE HUNTING An understanding of image 169 constitutes a lacuna in Jungian scholarship. No one has heretofore provided a substantive or credible exposition of image 169. In fact, the only five people that I am aware that have said anything about it are Sonu Shamdasani (2009), Lance Owens, Andreas Jung (2011), Sanford Drob (2012), and Jay Sherry (2010), who commented on the image in “A Pictorial Guide to The Red Book” suggesting that Jung created image 169 in the 1950s, a date that Shamdasani has rejected. I present the research topic as a lacuna because there is no attendant commentary on image 169 in the footnotes of Shamdasani’s commentary. Regardless of the limited information, Jung seems to have left behind a tell-tale clue on the marginalia of the illustration. If one looks closely, one can make out Jung’s faint handwriting on the lower right hand corner of the print. It reads: roth (red), gelb (yellow), grun (green), and blau (blue) (Figure 3). Jung’s Figure 3. Jung’s faint handwriting on image 169 (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

sequence of colors matches the color scheme within the rainbow burst in the picture. The Collected Works has also provided some additional clues regarding the noted color symbolism. Furthermore, it is important to mention that regardless of my reservations about any

connection between the mythological Cabiri and image 169, Jung (1938/1969) included a brief reference to the Cabiri in conjunction with the four colors:

25 TREASURE HUNTING The four little men of our vision are dwarfs or Cabiri. They represent the four cardinal points and the four seasons, as well as the four colours [italics added] and the four elements. In the Timaeus, as also in Faust and the Pélerinage, something seems to be wrong with the number four. The missing fourth colour is obviously blue. It is the one that belongs to the series yellow, red, and green. Why is blue missing? What is wrong with the calendar? or with time? or with the colour blue? (CW11, para. 120) Thus, any symbolic connection between the Cabiri and image 169 should not be ruled out. In fact, in Jung’s depiction of the Cabiri in Wehr’s illustrated biography, they are wearing multi-colored attire, which seems highly suggestive of the color scheme found in image 169. The Jungian analyst John Beebe has suggested that the Cabiri are related to image 169: Image 169 in Liber Novus has to do with the Cabiri . . . One can only wonder if Jung was addressing a shadow problem in himself at the time he made this picture. All we can say about the blue of the image of in the corner is that it probably represents his thinking surrounded by the other functions. They seem, from what we read in the text accompanying this image, to be helping him deal with his over mastery of his lower nature, lest he become (as a consequence) “entangled in his brain.” This could be part of Jung’s overcoming of his own selfovercoming, which came as the last part of his own initiation, which involved channeling the wisdom of Philemon who (as senex) could have with his rather definite analytic thinking a bit overmastered Jung’s other functions, whose potential now needed to be released lest the vitality of Jung’s masculinity be lost.

26 TREASURE HUNTING But that’s just my interpretation: the blue seems a little flat and boring to me, as a senex consciousness can be. (personal communication, January 17, 2015) Beebe’s supposition however seems to rely directly on the textual narrative, which as I have indicated does not correspond with image 169. While discussing the dream of a patient, Jung (1938/1969) mentioned the same tetrad color scheme during the Terry Lectures on Psychology and Religion: There it was a matter of a rectangular space, on the four sides of which were four goblets filled with coloured water. One was yellow, another red, the third green, and the fourth colourless. Obviously blue was missing, yet it had been connected with the three other colours in a previous vision, where a bear appeared in the depths of a cavern. The bear had four eyes emitting red, yellow, green, and blue [italics added] light. (CW11, para. 128) In another passage, Jung (1938/1969) described the same colors in relation to another dream of the same patient:4 Nor do they wish to say anything more specific, at first, than that they refer to functions and aspects of the dreamer’s personality, as can easily be ascertained when they appear as three or four known persons with well-marked characteristics, or as the four principal colours, red, blue, green, and yellow [italics added]. It happens with some regularity that these colours are correlated with the four orienting functions of consciousness. (CW11, para. 281) While analyzing the mandala of a different patient, Jung (1950/1968a) noted the same color scheme: “This takes place in stages: a combination first of blue and red, then of

4

The patient in question was the physicist Wolfgang Pauli.

27 TREASURE HUNTING yellow and green. These four colours symbolize four qualities, as we have seen, which can be interpreted in various ways” (CW9i, para. 582). Yet in another passage in The Collected Works we come across the description of a dream that has the same sequencing of the four colors: In the square space. The dreamer is sitting opposite the unknown woman whose portrait he is supposed to be drawing. What he draws, however, is not a face but three-leaved clovers or distorted crosses in four different colours: red, yellow, green, and blue. (1944/1952, CW12, para. 212) Another dream belonging to the same patient contains the color sequence: The dreamer is falling into the abyss. At the bottom there is a bear whose eyes gleam alternately in four colours: red, yellow, green, and blue. Actually it has four eyes that change into four lights. The bear disappears and the dreamer goes through a long dark tunnel. Light is shimmering at the far end. A treasure is there, and on top of it the ring with the diamond. It is said that this ring will lead him on a long journey to the east. (para. 262) Jung (1955-1956/1963) also wrote the following in Mysterium Coniunctionis: “Consequently the synthesis of the four or seven colours would mean nothing less than the integration of the personality, the union of the four basic functions, which are customarily represented by the colour quaternio blue-red-yellow-green” (CW14, para. 390). Similarly, Jung described a dream in Psychology and Alchemy that thematically parallels some of the symbolic features of image 169, in particular the color scheme. Jung (1944/1968) wrote the following commentary about the dream:

28 TREASURE HUNTING There is a feeling of great tension. Many people are circulating around a large central oblong with four smaller oblongs on its sides. The circulation in the larger oblong goes to the left and in the smaller oblongs to the right. In the middle there is an eight-rayed star. A Bowl is placed in the centre of each of the smaller oblongs, containing red, yellow, green, and the colourless water. The water rotates to the left. The disquieting question arises: is there enough water? (CW12, para. 286) Because we can find similar instances of these motifs in The Collected Works, one could infer that Jung was intentionally arranging the colors in a specific way because of what they suggest symbolically. In perhaps one of Jung’s (1954/1969a) most groundbreaking works, On the Nature of the Psyche, he employed the color spectrum as an analogy to describe the term psychoid. Using the analogy of the spectrum, we could compare the lowering of unconscious contents to a displacement towards the red end of the colour band, a comparison which is especially edifying in that red, the blood colour, has always signified emotion and instinct. (CW8, para. 384) Jung further elaborated this color imagery in a subsequent passage in the same work. If we remember our colour symbolism, then, as I have said, red is not such a bad match for instinct. But for spirit, as might be expected, blue would be a better match than violet. Violet is the “mystic” colour, and it certainly reflects the indubitably “mystic” or paradoxical quality of the archetype in a most satisfactory way. Violet is a compound of blue and red, although in the spectrum it is a colour

29 TREASURE HUNTING in its own right. Now, it is, as it happens, rather more than just an edifying thought if we feel bound to emphasize that the archetype is more accurately characterized by violet, for, as well as being an image in its own right, it is at the same time a dynamism which makes itself felt in the numinosity and fascinating power of the archetypal image. (para. 414) Thus, if one reads the color symbolism in the appropriate context, one could suppose that the psychoid concept is a natural progression of Jung’s earlier typology. We could just as well apply the following psychological statement: Typology refers to the four modes of consciousness whereas the psychoid concept subsumes the totality of psychic states to include unconscious ones. The color symbolism also seems to parallel Jung’s exploration of the alchemical idea of the cauda pavonis or peacock’s tail which expresses all the colors; for Jung (1950/1968a) has written that “These are the colours of the peacock’s eye, which play a great role as the cauda pavonis in alchemy” (CW9i, para. 580). The central aim of exhausting this color motif is to point out that something as rudimentary as the “rainbow burst” in image 169 can be amplified in a way that highlights its archetypal meaning as understood by Jung. This suggests that Jung was not arbitrarily nor aesthetically arranging colors, but did so with a specific purpose in mind. Given Jung’s emphasis on typology and integrating the four functions of consciousness, one could argue that the color scheme symbolizes the individuation process. Furthermore, both Jolande Jacobi (1942/1973, p. 138) and C. A. Meier (1995/2012) explicitly correlated the four primary colors with the four functions of consciousness, a point that will be further explored elsewhere.

30 TREASURE HUNTING The main point that I have aspired to raise through the foregoing analysis of image 169 is that in the painting there are basic patterns and motifs that seem to coincide with many of the basic concepts in Jung’s psychology—such as the self, typology, individuation, and the collective unconscious—of which he went to great lengths to compare with other historical, philosophical, and literary ideas outside of his psychology. Jung’s personal myth and individual cosmology continued to evolve and form as he arrived at new insights or discovered new archetypal parallels to his psychological ideas. Analysis of the painting suggests that the image features not only Western ideas but Eastern ones as well, which I will further discuss elsewhere in the dissertation. Given Jung’s synthetic impulse, it would not come as a surprise if he intended to symbolically depict core tenets of his psychology within an image, especially one as elaborate as image 169. As indicated, one of the central aims of this dissertation is to bring to light what Jung was seeking to convey by rendering the painting and including it in Liber Novus. In this way, a focus on the distinct archetypal imagery of the painting is consistent with the constructive and amplificatory methods that I have alluded to. Relevance of the Topic for Other Fields History of ideas. Because the themes and ideas found within the Liber Novus and its paintings change over time, one could suggest a relationship between the research topic and the field of study known as the “history of ideas.” The history of ideas is an interdisciplinary field that addresses the articulation, preservation, and transformation of human ideas over time. Viewed through a Jungian lens, one could say that these ideas are founded on archetypal images and psychic patterns of thought with strong symbolic overtones that

31 TREASURE HUNTING have their origins in the collective past. Because Liber Novus originated within the cultural milieu of fin de siècle Europe, Jung’s ideas did not form in a vacuum but were a product of the zeitgeist in which he lived. Thus, one cannot view Jung’s thinking without taking into account the influence of the dominant ideas of early 20th century Europe. Study of Liber Novus can also throw light on the origin and development of many of the principal ideas in analytical psychology such as the process of individuation and the archetype of the self. One could say that Liber Novus presents an early picture of these ideas in their nascent form during the time when Jung was working out the details of the theoretical framework in which he would eventually house them. Because Liber Novus was written during the course of at least a 16-year timeframe one can monitor the development of Jung’s ideas alongside the professional studies, which developed parallel to them. Liber Novus also suggests that there is a reciprocal relationship between the individual (i.e., Jung) and the collective (i.e., zeitgeist) which could be said to creatively work together to synthesize new ideas. Religious studies. The research topic also addresses ideas that are relevant to the field of religious studies. Jung (1938/1969) described his psychological approach toward religion as phenomenological (CW11, para. 4). In other words, Jung’s approach deals primarily with the manifestation of psychic contents in cultural phenomena of which religious ideas are inextricably a part of. Jung’s treatment of the word religion suggests a certain kind of psychological attitude that gives rise to the experience of the numinosum: a special quality that evokes a sense of awe and fascination. Jung traces the original meaning of the word religio to “a careful consideration and observation of certain dynamic factors that

32 TREASURE HUNTING are conceived as ‘powers’ ” (para. 8). These same dynamic factors possess the quality of the numinous which can as a rule, produce a change in one’s consciousness. Thus, Jung understood religion as “the attitude peculiar to a consciousness which has been changed by experience of the numinosum” (para. 9). Jung’s emphasis on the importance of religion to psychology is further evidenced by what he identified in his essay Psychology and Religion as his point of departure: “the psychology of the homo religiosus, that is, of the man who takes into account and carefully observes certain factors which influence him and his general condition” (para. 11). Liber Novus is important in that it documents Jung’s encounter with the numinosum, which apparently gave rise to a change in his own conscious attitude. It is also important to point out that Jung’s confrontation episode was preceded by his immersion in Eastern mythologies and religions as early as 1910/1911 during his preparatory study for Symbols of Transformations. Jung indicated that he felt there was some sort of connection between India and what he was doing with Liber Novus, although at the time he did not know what it was (Shamdasani, 2009, p. 239, n. 93). Jung’s observation foreshadowed his interest in Eastern religion, in particular Tantric Buddhism, which seems to have partially inspired the imagery contained in image 169. Given Jung’s understanding and approach toward religion, I have sought to elucidate the origins and development of Jung’s religious attitude, which seems to have reached an important turning point during his so-called confrontation with the unconscious. Mythological studies. The research topic also relates to the field of mythological studies. In the prologue of Memories, Dreams, Reflections, Jung (1961/1989) introduced his autobiography as a

33 TREASURE HUNTING telling of his personal myth. Jung’s profound interest in myth persisted throughout his long life. Jung began to study mythology in earnest in 1909, in order to understand the symbolism contained in latent psychosis (p. 131). Around the same time, Jung read Georg Friedrich Creuzer’s (1810) Symbolik und Mythologie der Alten Volker, which further deepened his interest in myth. Creuzer’s book stimulated Jung’s imagination: “In the course of reading I came across Friedrich Creuzer’s Symbolik und Mytholigie der Alten Volker—and that fired me” (p. 162). Elsewhere, Jung (1989/2012) wrote “I came upon a German book called Mythology and Symbolism. I went through the three or four volumes at top speed, reading like mad, in fact, until I became as bewildered as ever I had been in the clinic” (p. 24). In 1912, Jung published Symbols of Transformation, an extensive survey of mythology which was principally based on the creative fantasies of an American woman named Frank Miller. Jung was deeply interested in the mythological themes that cropped up in Miller’s fantasies. He proposed that her fantasies originated from an endogenous layer of her mind that was inherited. Jung believed that he could demonstrate a phylogenetic origin of her fantasies by comparing them to myths found in the world’s traditions and cultures. The term phylogenesis suggests that certain psychic contents are common to the entire species rather than just the individual. Jung tried to situate Ms. Miller’s personal psyche within a larger transpersonal framework that he would later call the collective unconscious. Jung ultimately saw mythological expressions as psychic statements that originate from the collective unconscious. In Liber Novus, Jung intimated the direction his future work would tread: the task of transforming the god-image in humankind through the myth-making function of the

34 TREASURE HUNTING human psyche. One could say that Jung principally wanted people to find their own myth and discover for themselves the reality of the objective psyche. Consequently, Liber Novus could be viewed as the foundation of a new cosmogonic myth in our time which amounts to an emergent picture of humankind’s relationship to the eternal or what Jung called the spirit of the depths. Jung recognized that the West, with its emphasis on scientific materialism, had relegated myth to the province of superstitious thinking and exaggerated tall tales. With its emphasis on mythology, Liber Novus attempts to compensate for what Jung viewed as the one-sidedness of secular materialism and positivistic science. Viewed mythologically, image 169 suggests three major ideas: (a) Jung’s relationship with his ancestors; (b) the individual’s relationship with the whole of human history; and (c) an increasingly evident synthesis of Eastern ideas into his psychology, which by the late 1920s, he had started to explore more extensively. The year 1930, as I will discuss elsewhere, was for Jung a pivotal year and could viewed as a turning point in his career. Shamdasani (2013) has suggested Jung did not realize his own myth until 1930 (p. 62), the same year that he put down Liber Novus to pursue an extensive study of Eastern religion and alchemy. The first idea—Jung’s relationships with his ancestors— merits further consideration in light of image 169, which evokes the myth of the Harrowing of Hell—Christ’s descent into hell and the subsequent redemption of the dead in the New Testament (1 Peter 3:19-20). Thus, the research is an exploration of Jung’s psychological equivalent of the same mythological formulation and examination of Jung’s (1961/1989) contention that “this is also a relationship to the collectivity of the dead; for the unconscious corresponds to the mythic land of the dead, the land of the

35 TREASURE HUNTING ancestors” (p. 191). Shamdasani (2010) has opined elsewhere: “In Jung’s theology of the dead, redemption does not take the form of saving the souls of the dead, but of taking on their legacy answering their unanswered questions” (p. 14). Thus, the research topic also extends to the field of mythological studies in a variety of ways.

Statement of the Research Problem Image 169 stands out as an anomaly among the other paintings for its unique style and design. In fact, there is only one other painting that breaks with Jung’s tendency to depict purely figurative and mythic images. Like image 169, image 155 seems to portray actual human figures, either real or imagined. That one can discern a clear stylistic difference between image 169 and image 155 and the other paintings in Liber Novus further highlights the research problem. Image 169 is distinctly unique in many ways. For instance, the image contains 127 faces and skulls that are clustering around a star-like orb or lotus-flower. The image is striking for its clarity and detail. Some careful analysis reveals that the figures depicted in the image wear different period attire, which changes in style as one moves towards the archaic men and skulls that occupy the outer edge of the painting. Furthermore as previously noted, the painting is the only one that appears unfinished. These observations, and others, suggest the need for further study. The central problem could be stated as the relationship between the image and Jung himself as well as his psychology. As Jung (2009) indicated in his 1959 epilogue, he stopped working on Liber Novus in 1930 as a result of his “acquaintance with alchemy” (p. 555). In 1928 he

36 TREASURE HUNTING received a Taoist alchemical manuscript—The Secret of the Golden Flower—that led him to embark on a study of alchemy. It was this synchronistic discovery of an alchemical parallel to his own work that led him away from his Liber Novus project for nearly 30 years. As Shamdasani (2009) suggested: “The last full-page image was left unfinished [image 169], and he stopped transcribing the text” (p. 219). After 1930, his energy turned outward and a confrontation with the world ensued. Hugh Milstein, President of DigitalFusion, the company that scanned Liber Novus, pointed out that its paintings contain layers that cannot be seen with the naked eye. When it was scanned in 2007, DigitalFusion identified evidence of markings and etchings beneath the paint which highlights Jung’s attention to detail during their creation. In other words, Jung did not abruptly take out a brush and put paint on the page, but carefully thought out each image by first laying down lines, shapes and proportions prior to applying the colors. Milstein also pointed out the marginalia note depicted in the bottom left corner of image 169. He, like others, believes that image 169 was left unfinished. Moreover, he also observed that as a part of Liber Secundus, page 169 was connected to Liber Novus’ vellum binding and was not a loose page (personal communication, February 24, 2015). It is also worth mentioning that on page 156 of the calligraphic volume, Jung (2009) inscribed the dated marginal note “XIV AUG. 1925”, which seems to refer to the date of the transcription (p. 318, n. 290; 2012, p. xiii). Shamdasani pointed out that Jung departed for his African expedition not long after August 1925—Jung departed from England on the first leg of his African expedition on October 15, 1925 (Bair, 2003, p. 343)—and returned on March 14, 1926. Jung later painted image 159 in early January

37 TREASURE HUNTING 1927, dedicating it to his friend Hermann Sigg who passed away on January 9, 1927. Jung provides the final annotated date in the calligraphic volume on page 163 as simply 1928. Thus, one can gauge the average rate of time it took Jung to transcribe the text and illustrate his pictures. Jung was obviously a very busy man and it took him a year and a half to transcribe two pages (pp. 157-159) and about another year and a half to transcribe three pages (pp. 160-163). At this juncture (1928), Jung was apparently at page 164 and Shamdasani conjectured that Jung painted image 169 around 1930, amounting to six calligraphic pages in two years, which is roughly consistent with the average timeframe it seems to have taken Jung to transcribe from his corrected draft to the calligraphic volume during the 1920s. However after image 169, there are still 20 pages of transcribed material before the transcription to the calligraphic volume abruptly ends on page 189. The timeline, however incomplete, presents a potential way to mitigate the research problem as well as glean important clues regarding when Jung left off the transcription and by extension the date he painted image 169. Furthermore, it should be noted that the back of image 169, page 170, was left blank. One can presume that Jung perhaps had intended to eventually paint another picture on page 170. Jung (2009) seemed to have worked on Liber Novus in ebbs, flows, and periodic rapid spurts, as evidenced by the date inscribed on page 36 of the calligraphic volume, which reads “This image was printed on Christmas 1915” (p. 277). Jung acquired the red leather-bound volume earlier in the same year (Shamdasani, 2012, p. 117). Although there is no month specified, it was likely between spring and summer that he acquired the book, which makes sense given that Jung wrote Liber Primus earlier in the same year (p.

38 TREASURE HUNTING 117). So between early 1915 and Christmas 1915, Jung had already completed the folio volume of Liber Primus (seven double sided pages) and had also reached page 36 in the calligraphic volume, Liber Secundus, which includes eight elaborate paintings. It is difficult to overstate the Herculean scope of Jung’s undertaking, especially for the fact that he was simultaneously engaged with other responsibilities (i.e., work, family, etc.). As previously mentioned, Shamdasani contended that Jung (2009) abruptly broke off Liber Novus’ transcription in 1930, which included page 169 (p. 225). However, careful analysis presents another hypothesis: that Jung stopped his transcription around page 168 or 169 around 1930 and picked it up at a later date—possibly the late 1940s or early 1950s. The strongest evidence for such a hypothesis is the difference in the dimensions of the insets. In Liber Novus, pages up to page 169 have an inset (i.e., the square box that Jung transcribed the calligraphic text into), which is approximately 27.5. centimeters in height and 20.3 centimeters in width, whereas after page 169 and page 170—page 170 was left blank—the inset dimensions are approximately 23.3 centimeters in height and 16 centimeters in width. These dimensions apply to pages 171 thru 189. This suggests the possibility that, after a lengthy hiatus, Jung returned to Liber Novus to finish it, and that he used a different sized inset when transcribing pages 171 through 189. Jung made it up to page 189 before breaking off the transcription at an unknown date, and then he provided a final remark in 1959, which is known as the epilogue of Liber Novus. Thus, in the case of image 169, there are three possibilities: (a) Jung created it in 1930 and left it unfinished; or (b) Jung created it in 1930 and gradually colored it in over the years, ultimately leaving it unfinished; or (c) Jung created the image in the late 1940s

39 TREASURE HUNTING or early 1950s, but never finished it. I will explore these clues at length in the dissertation. Statement of the Research Question(s) The primary research question can be summed up as follows: What is the likely relationship between image 169 in Liber Novus and Jung’s personal myth and individual cosmology? These auxiliary questions that follow will also be explored throughout this study: -

In what ways can image 169 shed light on the meaning of Jung’s psychology?

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What was Jung likely trying to convey by painting the image?

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Who are the figures in the painting?

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When did Jung paint image 169?

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What was Jung attempting to convey through his use of colors in the image?

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How does image 169 relate to Jung’s other paintings including his Systema Munditotius mandala?

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How does the image relate to what Shamdasani calls Jung’s theology of the dead?

40 TREASURE HUNTING

41 TREASURE HUNTING Chapter 2 Literature Review Summary of Relevant Research Domains In order to understand the significance of image 169, one has to first survey a broad range of literature. One could say that study of Jung’s Liber Novus is an interdisciplinary enterprise which includes myth, psychology, literature, and religion, and for this reason it is difficult to assign Liber Novus to any particular literary genre or category. Because this dissertation is interdisciplinary, research will explore a number of relevant fields and disciplines that may shed light on the relationship between image 169 and Jung’s personal myth and individual cosmology. In that each field represents a different angle or perspective to explore and approach image 169, the following categories seem optimally suited for a hermeneutic inquiry of the research question: Liber Novus, biographical sources, psychological perspectives, religious perspectives, artistic and aesthetic perspectives, mythological and literary perspectives, and scientific perspectives. Due to the importance of Liber Novus in relation to the research question, it has been treated as a separate category. A brief overview of Liber Novus itself and its supplementary material, will also be covered to more clearly contextualize the research problem. Image 169 itself will be addressed within the Liber Novus section. In addition to discussing image 169 and Liber Novus, it is also helpful to consider literature pertaining to C. G. Jung’s own life. Thus, it is necessary to survey a range of biographical literature (Bair, 2003; Bennet, 1985; Bishop, 2014; Dunne, 2000/2012; Hannah, 1976/1998; Jaffé, 1971, 1979); Jung, 1961/1989; Shamdasani, 2003, 2012; Stevens, 1990; Van der Post, 1975; Wehr, 1987) regarding events and topics in the man’s life that could bear directly on the research topic. These books represent a limited

42 TREASURE HUNTING sampling of the extant biographical literature on Jung. My primary selection criteria was compiling a list of authors that approached Jung and his work from a different angle or were informed by a different theoretical lens. The basic aim is to draw from a range of opinions and perspectives contained in the selected biographies. Literature Relevant to the Topic Liber Novus. Because the object of inquiry, image 169, organically originated from Jung’s (2009) Red Book, Liber Novus is the central source of this study, and thus, I begin with it and its supporting literature. Liber Novus explores a number of interdisciplinary themes ranging from the relationship between the individual and the collective, accepting one’s own path in life, the role of creative fantasy for the imagination, the rebirth of the godimage, the structure and the reality of the psyche, the arrival of a new age, the relationship of the living to the community of the dead, and arguably a basic template for what would eventually become analytical psychology. Shamdasani (2009) put it similarly: The overall theme of the book is how Jung regains his soul and overcomes the contemporary malaise of spiritual alienation. This is ultimately achieved through enabling the rebirth of a new image of God in his soul and developing a new worldview in the form of a psychological and theological cosmology. Liber Novus presents the prototype of Jung’s conception of the individuation. (p. 207) Liber Novus is divided into three parts: Liber Primus, Liber Secundus, and Liber Tertius, which respectively correspond to the following proper titles: The Way of What is to Come, The Images of the Erring, and Scrutinies. Although each part addresses different

43 TREASURE HUNTING philosophical, religious, and cultural themes, one could say that the work contains a continuous contextual thread which unifies the three parts into a self-consistent grand narrative. Jung’s drafting and rewriting of what would eventually become Liber Novus could hardly be described as a linear process. All three books were derived from what are known as Jung’s Black Books, even though the first one was actually brown in color (Shamdasani, 2012, p. 65). Jung later made corrections to the draft material in typescript and eventually transcribed it into the calligraphic volume contained in the 600-page book. Stein (2012) has pointed out that after an eleven year hiatus, Jung returned to making entries in his journal in 1913. Jung (2009) was presumably too busy to write in his journal between 1902 and November 1913 while he was immersed in the spirit of the times (p. 282). It is important to mention that Liber Novus started off as a medieval manuscript composed on folio-sized parchment sheets. Jung completed seven single parchment sheets, and these composed Liber Primus. However, there was a problem with the parchment sheets in that the paint did not stick to them and the colors bled through. One need only examine Liber Primus to see how severely the paint has chipped from many of the images. Jung eventually set the parchment pages into the beginning of the calligraphic volume, and then continued his art and transcription of text directly onto the bound pages working forward page by page. This transcription onto the bound pages within Liber Novus begins with Liber Secundus, which Jung was not able to completely transcribe into the calligraphic volume. During the said time period (1913-1916) Jung also painted separate pictures that in some cases corresponded to the text. These “stand-alone” images were not included in

44 TREASURE HUNTING Liber Novus but in my opinion still belong to Jung’s original canon. Accordingly, Jung’s treatment of the text is complex and multilayered. Shamdasani (2013) has commented on these “stand-alone” paintings: “The separate paintings that he did—which are all linked to the cosmology of this book—are striking” (p. 47). In 1915, Jung commissioned a Swiss bookbinder to create a red leather-bound volume consisting of 600 pages. As I mentioned in the introduction, the spine of the book bears the name, Liber Novus. Jung (1961/1989) commented on this very process: In the Red Book I tried an esthetic elaboration of my fantasies, but never finished it. I became aware that I had not yet found the right language, that I still have to translate it into something else. Therefore I gave up this estheticizing tendency in good time, in favor of a rigorous process of understanding. I saw that so much fantasy needed firm ground underfoot, and that I must first return wholly to realty. For me, reality meant scientific comprehension. I had to draw concrete conclusions from the insights of the unconscious had given me—and that task was to become a life work. (p. 188) Shamdasani (2012) indicated that Jung made entries into his Black Books as late as 1932 (p.170). Because the Black Books have yet to be published I am limited to Shamdasani’s references found in Liber Novus, which although are helpful, limit the scope of the research process. There are a few published works that address image 169, although only in passing. Jay Sherry (2010) discussed the painting in “A Pictorial Guide to the Red Book.” Sherry suggests that the image’s style is similar to that of symbolist artist James Ensor (p. 19). One need only examine Ensor’s paintings to see a clear artistic parallel between

45 TREASURE HUNTING image 169 and Ensor’s style, however, I cannot say to what degree, if any, Ensor influenced Jung’s own artistic renderings. Sherry also compared the imagery to an excerpt from Memories, Dreams, Reflections, where Jung (1961/1989) reported seeing grinning masks and caricatures before falling asleep (p. 30). These observations, although relevant, are in my view tangential to the research topic. It is difficult for me to draw a direct connection between Jung’s hypnagogic vision as a child and a mature imaginal work in his adulthood. In my view, I think that Jung’s depiction of the faces has no direct connection to his childhood experiences. The faces after all are only one component of the image. As previously discussed, Sherry has suggested that the image was painted in the 1950s a date that Shamdasani has rejected. Based on his own analysis of the text and the timeline of what Jung transcribed and painted the images, Shamdasani has proposed a date closer to 1930, which is consistent with what he wrote in Introduction to Jungian Psychology; Notes of the Seminar on Analytical Psychology Given in 1925: After his return from Africa in April 1926, he took up again his work transcribing Liber Novus into the calligraphic volume. However, from this point until he left off the transcription in 1930 (before taking it up one last time in the late 1950s), there are only ten full text calligraphic pages, two complete paintings (the

46 TREASURE HUNTING “window unto eternity” and “golden castle” mandalas and one unfinished painting). (1989/2012, p. xxi) The unfinished painting Shamdasani is referring to above is image 169. Sherry indicated that he arrived at the suggested date from what Aniela Jaffé (as cited in Jung, 1962/1988) reported in the following passage from the German edition of Memories, Dreams, Reflections, which was not included in the English version: In the fall of the year 1959, after not having felt well for a long time, Jung picked up the Red Book again in order to complete the last picture which had remained undone. However, he could not or did not want to complete it even now. It dealt, so he said, with death. Instead he wrote down a new longer, imaginative conversation which was connected with one of the earliest conversations in this book. (p. 387; translation from personal communication, J. Sherry, June 23, 2014) Shamdasani (2009) also mentioned this same passage in his introduction to Liber Novus. On October 12, 1957, Jung told Jaffé that he had never finished the Red Book. According to Jaffé, in the spring of the year 1959 Jung, after a time of lengthy illhealth, took up Liber Novus again, to complete the last remaining unfinished image. Once again, he took up the transcription of the manuscript into the calligraphic volume. (p. 221) Shamdasani (2009) went on to highlight that Jaffé wrote: “However, he still could not or would not complete it. He told me that it had to do with death” (p. 137). The point of confusion seems to bear directly on what Jung was referring to when he said “death.” Sherry read the phrase as if Jung were talking about image 169, whereas Shamdasani interpreted the statement as death in general, that is to say, Jung’s pending death. Jung

47 TREASURE HUNTING died about four years after the abovementioned comment was made. When asked about the aforementioned passage and Sherry’s observations, Shamdasani responded as follows: As I’ve indicated, the text in Memories is not reliable—so if you look at what Jaffé states in the passage you cite, it sounds as if the latter meeting with Salome and Elijah in chapter 21 is a new conversation, whereas Jung is merely transcribing what he had already written in 1914. . . . It is pretty clear that he considered finishing the painting that was left off when he left the work aside around 1930, and instead continues the transcription, (p. 171f). (personal communication, June 25, 2014) The reason I have emphasized the disagreement surrounding the date image 169 was created is because a work painted in 1930 could suggest a meaning entirely different from one that was created in, say, 1955. Jung’s work and interests changed and evolved over time and by more accurately determining its date of origin, one could use the timeline to gauge what Jung was working on and doing during the said timeframe. In his interpretive guide, Reading the Red Book, Sanford Drob (2012) conducted an extensive hermeneutic survey of Liber Novus, in which he briefly mentioned the image. Drob also opined that image 169 was painted at a late date (p. 200). Drob drew a comparison between image 169 and image 159 (i.e., the Liverpool Dream), noting that they both have rays that emit from a mandala (p. 200). Drob observed that some of the faces are looking toward what he describes as a radiant star whereas others are looking away. Drob also mentioned Sherry’s abovementioned observations regarding the grinning masks and caricatures. Drob’s considered image 169 as “perhaps a fitting symbolic

48 TREASURE HUNTING conclusion” (p. 200). He further suggested that “Jung molds his search for his own soul into a psychology that charts the path towards individuation and wholeness for the living, while at the same time maintaining a deep reverence for the dead” (p. 200). To further complicate things, Jungian scholar Lance Owens brought to my attention a passage from the original Memories, Dreams, Reflections manuscript, or what is also known as the Protocols. In 1957, Jung said to Jaffé: This process of the inner images continued for years. As late as fifteen years ago I made a drawing, or maybe it was twenty years. But this drawing I didn’t elaborate. At that period it had become ever more clear: the mandala is the center indeed. At that time, in the years between 1917 and circa 1920, it became clear to me that the goal is the Self. (n.d., p. 156) Though the reference is vague, Jung may have been referring to image 169. The passage is also of interest in that it suggests an alternative date for when Jung created the painting. Beyond speculation, however, one should not draw any conclusions from the passage above. It serves principally as a point of interest. Finally, there is one other oblique reference to image 169 that merits additional commentary. In The Red Book: Reflections on C. G. Jung’s Liber Novus, Ulrich Hoerni—Jung’s grandson—mentioned image 169. “In 1930, Jung ended his experiment and put The Red Book aside—unfinished” (2013, p. 5). Hoerni’s allusion to image 169 very closely follows Shamdasani’s (2009) passing remark in his introduction to Liber Novus: “Shortly afterward, Jung abruptly left off working on Liber Novus. The last fullpage image was left unfinished, and he stopped transcribing the text” (p. 219). Another one of Jung’s grandsons, Andreas Jung (2011), wrote about the image in his short essay

49 TREASURE HUNTING “The Grandfather.” The essay deals with the Jung family and describes its genealogical roots and life patterns. Whereas image 169 is more colloquially known as “Faces and Skulls,” Andreas Jung has referred to it simply as “The Dead” which seems suggestive of the painting’s meaning. Andreas Jung has associated image 169 with “The Seventh Sermon of the Dead,” which reads as follows: The dead came again, this time with pitiful gestures and said “We forgot to mention one thing, that we would like you to teach us: about men.” And Philemon . . . began to speak . . . [in his last] sermon to the dead: “Man is a gateway, through which you pass from the outer world . . . into the inner world. . . . At immeasurable distance a lonely star stands in the zenith. . . . This star is the God and the goal of man . . . toward him goes the long journey of the soul after death”. But when Philemon had finished, the dead remained silent. Heaviness fell from them, and they ascended like smoke above the shepherd’s fire, who watches over his flock by night. (2009, p. 354) I found Andreas Jung’s association very curious and wrote him regarding why he associated image 169 with Jung’s seventh sermon. I eventually received a gracious response in which he clarified his opinions regarding the image: “Faces and Skulls” show a lot of deceased, of ‘faded-aways’, facing or averting the blue flower with the stone in the middle. The flower reminds me . . . of the “Golden Flower” and therefore of plate 163 with the Golden Castle. In his Sermons to the Dead, Philemon tells them to orient themselves towards their own star (which is in fact the same as the Golden Flower). The stone in the middle might be the Golden Castle, the philosopher’s stone, Jung’s Tower or Jung’s

50 TREASURE HUNTING Stone at Bollingen, a symbol of the Self. The people around could by chance be recognized; from the cavemen at the outer circle to all the thinkers near the star— some of them must be portraits, I am sure of that. But it will be quite a work to verify each head. The picture is not finished, so we do not know the colors Jung wanted to use. But I think the pencil note on the page is, as you write, to paint the rainbow rays in the right order. (personal communication, November 3, 2014) In a subsequent correspondence, Jung reminded me about the nature of symbols: You are, so far I understand, on a good way and have much more recognized than many others. So I agree with most of your statements. But in one point we hit a glass ceiling. If you consider the nature of a symbol you will see that it is ambiguous and will not be this or that but this and that (in the same time!). So the flower and the stone and the town are all the symbol of the self in different appearances. If Jung depicts a kind of mandala, he would not allow to take it just as a stone or a star or flower, since it is all together. Of course you can see in it a stone and explore all its meanings, but you should go further and search for all the other meanings. But I think you know all of that much better. (personal communication, November 10, 2014) Andreas Jung’s articulate response encouraged me to take the research question even further and he reminded me of the central challenge to any hermeneutic inquiry, especially one as problematic as image 169. Image 169 is a symbol for something mostly unknown. The blue object lateral to the faces and skulls could just as well be a flower or a star. People such as Drob and Jung have referred to it as either a star or a flower. In this way, Andreas Jung helped me realize, the central object of the painting is not “either” a

51 TREASURE HUNTING star “or” a flower. Viewed symbolically, it could just as well be both. My primary aim then is to let the symbol speak and not to reduce it to a single meaning. In this way, one could view the image as a symbol rather than a sign—a known referent that has been cut off from the unconscious. There are of course a variety of other papers and articles that address Liber Novus. Murray Stein’s “How to Read The Red Book and Why” is important not in the sense that it sheds light on the book’s imagery, but in the way he suggested a person could most benefit from reading Liber Novus. Stein (2012) aptly framed the range of it ideas: A supremely strange work like The Red Book with its elaborate calligraphy and meticulously executed paintings, its imaginal journeys through mental landscapes of mythic proportion and design, its theological and philosophical speculations, its uncanny connections to the social and political events of the times, and its personal yet also impersonal tone of voice and attitude cannot be intelligently interpreted without awareness of the interconnected contexts that underpin its contents. (p. 281) In the paper, Stein identified multiple concentric contexts or primary hermeneutic circles for reading The Red Book: Personal Context, Intellectual and Literary Antecedents, the Religious/Cultural Context. Shamdasani’s (2010) lecture at the Library of Congress is also worth exploring, in particular his observations regarding what Jung was trying to accomplish with his “hermeneutic experiment.” Shamdasani has suggested that with Liber Novus Jung was attempting to add a psychological appendix to Western theology, which Shamdasani refers to as Jung’s “‘theology of the dead’.” Shamdasani introduced the term in his 2008

52 TREASURE HUNTING essay “The Boundless Expanse” and further elucidated its meaning after the publication of Liber Novus: Christ’s task of the redemption, the salvation of the dead is then taken up in what I call Jung’s theology of the dead in Liber Novus. To cite one of the statements from the draft, “Not one title of Christian law is abrogated but instead we are adding a new one accepting the lament of the dead” [Jung, 2009, p. 297, n. 187]. In Jung’s theology of the dead, redemption does not take the form of saving the souls of the dead, but of taking on their legacy answering their unanswered questions. (2010, p. 14) Shamdasani’s notion of a theology of the dead constitutes his own hermeneutic understanding of The Red Book. Shamdasani opined that Jung’s writing of “The Seven Sermons of the Dead” in January 1916 was a watershed event in the development of the aforementioned doctrine, which suggests that what the living do today—how we live, what we learn, what we accomplish—has far-reaching implications to not only to the conscious undertakings of civilization but the vast invisible undergrowth of the unconscious, or put in mythological terms, the land of the dead. In Shamdasani’s view, “The Seven Sermons of the Dead” serves as the core material that justifies his interpretation. It should be noted that Shamdasani arrived at his interpretation of the text after years of studying both Liber Novus and The Collected Works in concert with one another. To answer whether such an interpretation is a correct one is beyond the scope of this study. Shamdasani’s “theology of the dead” is after all, an interpretation. However, one cannot deny that Jung’s viewpoint on the dead and life after death evolved over the course of his lifetime and by

53 TREASURE HUNTING the time he reached old age, he was convinced of post-mortem survival, as suggested by both The Protocols and chapter 11 of Memories, Dreams, Reflections. Shamdasani’s observations and suppositions are helpful in exploring and addressing the research question in that image 169 portrays anthropomorphic faces that could very well be Jung’s rendering of the dead. Admittedly, this is all speculative but in my view merits further study. Another book that helps address the research problem is Lament of the Dead: Psychology after Jung’s Red Book. The book consists of 15 dialogues between Shamdasani and James Hillman (2013). The dialogues expand on Liber Novus and what the text meant to Shamdasani and Hillman. In the book, Shamdasani clarified what he suggests Jung meant by “the dead.” By the term dead, Shamdasani suggested Jung was referring to the very weight of human history, the past, inherited ideas, and our collective ancestry. One could say that the dead, those who came before us, still live on with us and our ideas. In my view, the fact that the dead, as defined, still produce effects in the living constitutes a sufficient condition. The book is rife with insights and clarifications which intimate a broader interpretive understanding of Liber Novus. Because of the numerous cultural and literary references that throw light on the production and content of Liber Novus, this work could practically serve as its companion. According to Shamdasani (Hillman & Shamdasani, 2013), one of the “sharpest” (p. 22) statements in the book is “Not one title of Christian law is abrogated, but instead we are adding a new one: accepting the lament of the dead” (Jung, 2009, p. 297, n. 187). This curious statement seems to sum up one of the central themes of Liber Novus: the redemption of the dead. Redemption in this context does not

54 TREASURE HUNTING refer to the common theological meaning of the word, but should be viewed psychologically in regards to how we conduct ourselves in life, and to what degree the average person can individuate, as a means to mitigate the errors of the past. Although not discounting any metaphysical assertions, “the dead” seems to refer to the collective past in all of its manifestations. Shamdasani (2013) further suggested that the primary question of Liber Novus is who are the dead? . . . There is a sense in which, in the broadest scope, it is the dead of human history. We are at an epoch where the dead outnumber the living. There is this one level of an anonymous stream of the dead, of the weight of human history and what it has left that we have come to terms with. At another level it becomes more specific. Certain figures come out more prominently, differentiate themselves from the stream and present themselves in specific figures. (p. 3) Furthermore, the book is also compelling for the fact that it was the final book that James Hillman contributed to prior to his own death in 2011. Biographical resources. There are over a dozen biographical sources on C. G. Jung. Yet, only a few of the biographies I reviewed, however long, address relevant material than can further advance the research question or shed light on the problem. Most of the biographies cover the same material with varying degrees of detail and focus. Deidre Bair’s (2003) biography titled Jung is, at 647 pages, one of the longest biographies; however, its chapter on Jung’s “confrontation with the unconscious” dedicates only one chapter (eight pages) to this important period in Jung’s life, which does not seem adequate given how formative it

55 TREASURE HUNTING was to his life and work. In chapter 20, “A Prelude and Starting Points,” Bair briefly summarized the main features of Jung’s experience between 1913 and 1916. However briefly, Bair did underscore the fact that this period coincided with Jung’s formulation of his method of active imagination—“the process of concentrating on a single image or event long enough to allow it to develop its own volition” (p. 290). She also highlighted the basic narrative of Jung’s “confrontation of the unconscious” and provides some useful endnotes. The one episode that Bair extensively covered is Jung and his family’s encounter with a series of parapsychological events on January 30, 1916 (Jung, 1961/1989, p. 190; Jung, 2009, p. 346, n. 77). This event prompted Jung to write “The Seven Sermons to the Dead,” which was included in Scrutinies. Bair (2003) succinctly described these events (p. 294), and corrected an error made by Jung in Memories, Dreams, Reflections, regarding the age of his son Franz in 1916 (p. 746, n. 14). Shamdasani’s (2003) quasi-biographical work Jung and the Making of Modern Psychology: The Dream of a Science, does a better job of addressing certain key aspects of Jung’s thinking, particularly in how it relates to the development of his psychology. Shamdasani’s work is slanted more toward Jung’s psychology rather than Jung the man, although it is very difficult to separate one from the other. The book provided a broad overview of the development of Jung’s ideas, and the various philosophical and scientific tributaries that flowed into them. Shamdasani highlighted formative influences on Jung’s thinking while he refined his theories, which were infused with concepts as varied as the conservation of energy, neuroscience, entelechy, biology, myth, and other fields and disciplines. Shamdasani also discussed the key ideas covered in Jung’s principal papers, such as “On the Psychology and Pathology of So-Called Occult Phenomena.” He traced

56 TREASURE HUNTING the development of Jung’s ideas and theories over the span of his long career and thus, his book in my view throws light on hermeneutical and contextual issues. In a book review of the latter work, John Burnham (2008) described Shamdasani’s approach: The approach is the familiar one of the history of ideas—with powerful, detailed documentation. A random sample of pages in the book suggests that a half or more of the text consists of discussions of thinkers other than Jung—thinkers of the widest variety, from Kant and Nietzsche to long-forgotten Swiss savants of the 20th century. (p. 116) Burnham suggested that the two primary models for Shamdasani’s approach are Henri Ellenberger’s (1970/1981) The Discovery of the Unconscious and Roger Smith’s (1997) The Fontana History of Human Sciences. According to Burnham (2008), “Shamdasani traces the core histories and interrelations between major streams of Western thinking, focusing on intellectual problems of the human sciences. He does emphasize psychology but places it in a broad context” (p. 116). In contrast, rather than follow historical threads and causal trajectories of interconnected texts, my chief concern is image—image in the Jungian sense of the word. I ask first and foremost what the image means to the greater whole which in the context of the dissertation suggests not only Liber Novus but Jung’s personal myth and individual cosmology. The emphasis is placed on the image and subsequently worked backwards through amplification and comparative analysis, which will be further addressed in chapter 6 of this dissertation. Gerhard Wehr published a biography on Jung in 1987, and up until Bair published her own in 2003, it was considered the premier Jungian biography on the market. Wehr dedicated one chapter (Chapter 12) to Jung’s confrontation with the unconscious, entitled

57 TREASURE HUNTING “The Night Sea Journey” and the “Confrontation with the Unconscious.” Wehr’s treatment of this event is far more detailed than Bair’s and in my view superior. Wehr characterized this event as Jung’s mid-life crisis. In the chapter, while discussing Jung’s Symbols of Transformation Wehr (1987) pointed out that The large chapter on sacrifice in Transformation Jung now connected with himself. More strongly than ever he found himself faced with the question of what the language and imagery of myth had to say to him, or more precisely, what myth he himself must live, according to what inner, superindividual life plan his personal life, with its highs and lows, was structured. (p. 169) According to Wehr, Jung “deliberately selected the particularly fitting nekyia-episode, which describes Odysseus’ voyage to the otherworldly shores of the realm of shadows and the abode of the departed” (p. 169). Wehr observed: But only one who has accepted this process of mystical death, who has undertaken the soul’s journey to the other side and withstood the voyage on the night sea, into hell (“traveled down into the realm of the dead . . .”), can stand before his fellow men with this experience as one changed, even as “a new person,” and bring them the knowledge of a new life. Only he is in a position to lead others on their own night voyages, whether as the psychopomp (“leader of the soul”) of the ancient mysteries, or as guru, master, or spiritual leader in the various Eastern and Western systems of initiation. (p. 177) Wehr further added that Jung had entered a part of his written record first in the so-called Black Book, which Aniela Jaffé described as series of “six black-bound, smallish leather

58 TREASURE HUNTING notebooks.” These descriptions took their final form in the Red Book, written in a calligraphic script and illustrated with numerous full-sized drawings in color, also depictions of what he had seen. (p. 190) Wehr subsequently turned to the idea of the dead by raising the question that Shamdasani and others have taken up more recently: “Who ‘the dead’ were was not explained in more detail; Jung went only so far as to say that he had in mind the ‘voices of the unanswered, the unreleased and unredeemed’ ” (p. 192). Anthony Stevens’ (1994) biography, Jung: A Brief Insight, provides an overview of Jung’s life and ideas, and addresses several topics relevant to the central area of this dissertation, namely, Liber Novus and image 169. Although Stevens did not address image 169 directly, he did discuss Jung’s confrontation with the unconscious at length. However, most of the references are derived directly from Memories, Dreams, Reflections rather than Liber Novus. This is because Stevens’ book was published before 2009. Stevens provided a general summary of the events leading up to Jung’s confrontation with the unconscious and provides some insightful observations. For instance, Stevens wrote Jung’s experience was similar to that undergone by shamans and religious mystics, as well as some artists, writers, and philosophers. Examples include van Gogh, Strindberg, Nietzsche, Theodor Fechner (the founder of psychophysics), and the theosophist Rudolph Steiner. Jung himself compared it to Odysseus’ Nekyia (his visit to the Sojourn of the Dead) and it was prefigured in the fantasies of Miss Miller (which formed the basis of his book Transformations and Symbols of the Libido) as much as by the trance performances of Helene Preiswerk and

59 TREASURE HUNTING Helen Smith. In Miss Miller’s case, Jung has detected first a “renunciation of the world” (associated with an introversion and regression of libido) followed by an “acceptance of the world” (associated with an extroversion of libido and a more mature adaption to outer reality). The theme of the descent into the underworld and the return also occurs in the epic of Gilgamesh, Virgil’s Aeneid, and Dante’s Divine Comedy. (p. 39) All of the aforementioned literary figures and mythological allusions appear, directly or indirectly, in Liber Novus. What this suggests to me is that as a psychologist Jung understood that his experience was not unique to him; for others before him had confronted the unconscious in their own way. The principal difference was that because of Jung’s education, training, and arguably his psychic constitution, he was able to deal with the experience objectively rather than lose himself within it, or be taken over by the same tidal forces that had swallowed such men as van Gogh and Nietzsche. Stevens also observed correctly that Psychological Types owed a number of its ideas to Jung’s own nekyia experience (p. 31). Stevens pointed out the cosmological structure, which as an observation is relevant to the research problem. Stevens reasoned that Jung’s psychology became also a cosmology, for he saw the journey of personal development toward fuller consciousness as occurring in the context of eternity. The psyche, existing sui generis as an objective part of nature, is subject to the same laws that govern the universe and is itself the supreme fulfillment of those laws: through the miracle of consciousness, the human psyche provides the mirror which nature sees herself reflected. (p. 51)

60 TREASURE HUNTING Jung took up this theme in full force in his late work Answer to Job. This cosmological aspect of Jung’s psychology will be discussed in the context of image 169. Although Jung’s (1961/1989) book, Memories, Dreams, Reflections, is categorized as an autobiography, it really should be treated in a separate category due to its eclectic nature. In many ways, the book could be viewed as Jung’s psychological confession toward the end of his life, which is evidenced by its rich personal tone: In the end the only events in my life worth telling are those when the imperishable world irrupted into this transitory one. That is why I speak chiefly of inner experiences, amongst which I include my dreams and visions. These form the prima materia of my scientific work. They were the fiery magma out of which the stone that had to be worked was crystallized. (p. 4) Shamdasani (2012) has also pointed out that one cannot attribute Jung as the sole author of Memories, Dreams, Reflections, but it should rather be viewed as a joint effort between Jaffé and Jung. Bair (2003) addressed this point as well in her own biography of Jung, which I described earlier (p. 640). Regardless of the authorship of Memories, Dreams, Reflections, one cannot underestimate its central role in Jungian canon, especially for how it shows Jung’s willingness to speculate on what some may view as controversial subjects, like life after death. Jung took up this topic and seems to have departed from his empirical roots, to contemplate a very speculative and philosophical topic. In my view, reading Memories, Dreams, Reflections, and its source material, The Protocols, in conjunction with Liber Novus, throws critical light on Jung’s confrontation with the unconscious.

61 TREASURE HUNTING Paul Bishop’s (2014) more recent biography, Carl Jung, offers some analysis of Jung’s growing interest in myth and the occult. Bishop provided a succinct overview of Jung’s activities between 1909 and 1913, as a prelude to Jung’s confrontation of the unconscious. Bishop pointed out an obscure reference in the Freud-Jung Letters in which Jung addresses the mythological idea of a katabasis, which would prominently figure into the Jung’s Black Book active imaginations. The word katabasis literally means a downgoing, but in its archetypal context refers to the journey of the hero to the underworld, which is found in a number of myths and stories. In a letter dated February 25, 1912, Jung (1974) wrote to Freud: Essentially . . . what is keeping me hidden is the katabasis to the realm of the Mothers, where as we know, Theseus and Peirithoos remained stuck, grown fast to the rocks. But in time I shall come up again. These last days I have clawed my way considerably nearer to the surface. So please forebear with me a while longer. (pp. 219-220) Jung’s immersion in mythology, as previously discussed, would set the stage for his own katabasis. Bishop also provided a synopsis of Jung’s Red Book experience. Given his extensive knowledge of German philosophical thought, Bishop is able to draw comparisons between Goethe and Jung, and presents some historical parallels. For instance, he underscored the fact that Goethe also spoke with figures from his imagination, as indicated in his autobiography Dichtung und Wahrheit (Bishop, 2014, p. 123). Bishop also drew direct comparisons between Liber Novus and Friedrich Nietzsche’s Thus Spoke Zarathustra. Bishop pointed out that Jung read Zarathustra in

62 TREASURE HUNTING November 1914, at the same time he was immersed in the fantasies that he recorded in his Black Books (p. 125). Although Jung indicated that he first read Thus Spoke Zarathustra around 1898, he really did not understand what Nietzsche was trying to convey until he returned to the text in 1914-1915. Bishop suggested that “it is not surprising that in the Red Book [italics added] we find numerous echoes, allusions and resonances that remind us of Zarathustra” (p. 126). One need only juxtapose Liber Novus with Thus Spoke Zarathustra to realize to what superlative degree Nietzsche had inspired Jung. The structure and style of The Red Book closely follows Nietzsche’s aphoristic style. Bishop even opined that Liber Novus could just as well have been titled Thus Spoke Philemon. Although characterized by his aforementioned astute observations, Bishop only provided a cursory overview of Liber Novus in his analysis. Another important biographical reference that is relevant to the research topic is Shamdasani’s (2012) C. G. Jung: A Biography of Books. The book, an extensive survey of Jung’s personal library holdings, supplements Liber Novus and lucidly reviews Jung’s broad interests and scholarship prior and during his so-called fallow period (1913-1919). The book consists of 14 chapters which provide a detailed bibliographical overview of Jung’s extensive collection of rare books and manuscripts. Shamdasani presented some new insights into the genesis of Liber Novus through a series of illustrations and pictures of Jung’s personal collection. These insights include additional details about Jung’s forays into spiritualism as well as an extended analysis of Jung’s Red Book experience with concomitant illustrations and exhibits. Shamdasani discussed Jung’s library and book collection as well as his marginalia annotations. In particular, the book provides some very interesting insights regarding Jung’s first mandala, Systema Munditotius,

63 TREASURE HUNTING (System of the Whole World) which according to Shamdasani “has more in common with the traditional Tibetan form of the mandala than Jung’s later mandalas, which in 1917 he came to understand as depictions of the ‘self’ ” (p. 123). The book is also helpful in that through photographs the reader acquires a rare glimpse at Jung’s marginalia notes, underlining, and inscriptions. Shamdasani provided a great deal of literary context throughout the work which indicates the extent to which Jung’s vast reading would give shape to his subsequent creative expressions. Jung’s bibliophilia and love of learning would have a profound effect on his imagination. Lastly, in the book Shamdasani also articulates how Jung gradually assembled Liber Novus, starting with the Black Books and then the drafts. Another quasi-biographical source that I have explored is C. G. Jung: Word and Image, edited by Aniela Jaffé (1979). Jaffé’s book is similar to Shamdasani’s illustrated bibliographical survey, although her edition does not focus solely on Jung’s library and personal book collection, but rather on Jung’s life viewed through words and images. The book is relevant to the research question because it provides an early account of Liber Novus. When it was published in 1979 it revealed a few select illustrations from Liber Novus. Furthermore, it has an extensive collection of mandalas and photographs of Jung’s family and ancestors, and an impressive display of original documents and Jungian memorabilia. Like C. G. Jung: A Biography of Books, it nicely supplements Liber Novus and other works in Jung’s extended corpus. One of the better biographies written is Barbara Hannah’s (1976/1998) Jung: His life and Work: A Biographical Memoir. The book is replete with colorful vignettes regarding Jung’s life, as witnessed by a member of his inner circle. Not only did Hannah

64 TREASURE HUNTING provide a first-hand account of many aspects of Jung’s life, she appended key dates through her writing that help form a consistent timeline regarding the formative events in Jung’s life. Hannah’s lengthy biography depicted an intimate portrait of Jung’s life. For instance, she shed light on Jung’s general attitude toward figures generally accepted to be central in the development of Jung’s ideas: But he was bitterly disappointed by Schopenhauer’s “theory that the intellect need only confront the blind Will with its image as it were in a mirror in order to cause it to reverse itself,” and he was “very puzzled” by Schopenhauer’s being “satisfied with such an inadequate answer.” This is the same critical reaction in the midst of enthusiasm that he had to “the cheated devil” in Faust and was to have again to Freud in the first long interview.” (p. 54) Hannah also recounted a dream Jung had soon after the death of Toni Wolff, which underscores Jung’s thoughts on some form of post-mortem survival: He had been helped, it is true, by seeing Toni in a dream, which he dreamed on Easter Eve, looking much taller and younger than she had been when she died, and exceedingly beautiful. She was wearing a frock of all the colors of a bird of paradise, with wonderful blue of the kingfisher as the most emphasized color. He just saw her image, there was no action in the dream, and he was especially impressed by having dreamed it on the night of the Resurrection (p. 313) The abovementioned passage is compelling because Shamdasani (2008) provided additional details regarding Jung’s dream of Toni Wolfe, which, when viewed together with Hannah’s description, provide a very candid assessment of Jung’s views on life after death. Hannah (1976/1998) also noted what seems to be a dream of paramount

65 TREASURE HUNTING importance at the end of Jung’s life, which suggests his own post-mortem continuance in some form. He dreamed: He saw the “other Bollingen” bathed in a glow of light, and a voice told him that it was now completed and ready for habitation. Then far below he saw a mother wolverine teaching her child to dive and swim in a stretch of water. (p. 344) Jaffé’s (1971) From the Life and Work of C. G. Jung stands as another quasibiographical source. The book is relevant to the research topic in that it focuses on the more esoteric interest and studies of C. G. Jung, to include the occult, parapsychology, and spiritualism. Jaffé suggested that “Prophetic dreams and precognitions were no rarity in Jung’s life, though far from habitual” (p. 1). Jaffé gave a brief overview of Jung’s family history with the occult, highlighting Emilie Preiswerk’s—Jung’s mother—alleged gift of second sight and Samuel Preiswerk’s—Emilie’s father—custom of having Emilie ward off spirits while he worked. Even Jung’s maternal grandmother Augusta, was rumored to be able to see spirits (p. 2). Regarding such matters, one can detect a pattern on Jung’s mother’s side of the family. Jaffé further traced Jung’s interest in parapsychology to his college years of studying medicine. Interestingly, Jaffé even quoted Jung’s old school friend Albert Oeri regarding Jung’s interest in occult phenomena: I will not deny that Jung underwent a severe test of personal courage when he studied spiritualistic literature, did a good deal of experimentation in that field, and stood by his convictions unless they were modified by more careful psychological studies. He was up in arms when the official science of the day

66 TREASURE HUNTING simply denied the existence of occult phenomena instead of investigation and trying to explain them. Thus spiritualists like Zöllner and Crookes, whose theories he could discuss for hours, became for him heroic martyrs of science. (Oeri as cited in Jaffé, 1971, p. 3) In his autobiography, Jung (1961/1989) lauded the mindset that arose as a result of spiritualism: The observations of the spiritualists, weird and questionable as they seemed to be, were the first accounts I had seen of objective psychic phenomena . . . For myself I found such possibilities extremely interesting and attractive. They added another dimension to my life, the world gained depth and background. (p. 99) Jung’s interest in spiritualism and the occult would later shape his research interests at the Burgholzi Psychiatric Hospital and his own formulation of the concept of a feeling-toned complex. In fact, Jung based his doctoral dissertation on his experiences with his mediumistic cousin Helene Preiswerk. Jaffé (1971) suggested that In the context of his work as a whole, this dissertation is of particular interest because it contains the germs of some of Jung’s later concepts which are of basic importance. While lying in a trance, the young medium would utter the words of “personalities” which Jung interpreted as personifications of unconscious “partsouls.” This suggested that the psyche was a plurality, or rather, a multiple unity; the part-souls or unconscious parts of the personality anticipated the concept of the “autonomous complexes” in the unconscious. (p. 4) Jaffé covered a broad swath of topics ranging from parapsychology to alchemy. If anything, Jaffé’s work demonstrated the degree to which Jung remained open and

67 TREASURE HUNTING tentative about parapsychological and synchronistic phenomena. In the final chapter of Jaffé’s book, “From Jung’s Last Years,” Jaffé discussed Jung’s wide-range of interests during the final years of his life, and observed that following his 1944 near-death experience, he entered into a period of intense intellectual activity. During this time period Jung produced some of his most important works ranging from “On the Nature of the Psyche” to Answer to Job. E. A. Bennet’s (1985) account of his conversations with Jung is also remarkable for their candid content, which seems to have somehow eluded other biographers. The work is of particular interest for its description of Jung’s inner life and dreams. For instance, Bennet wrote about a series of thought-provoking dreams Jung had related to him. C. G. mentioned that he had a dream of his sister six weeks after she died. He was in some kind of castle and went to meet her at the station. He met her, and she was about a head taller than himself. He walked beside her and glanced at her. She then made herself the same height as he was. In life she has been shorter than C. G. (p. 98) Jung also listed three dreams he had of his father after his death. Jung’s father, Paul Achilles Jung, died on January 28, 1896 (Oeri as cited in Jung, 1977, p. 5). Bennet wrote that Paul Jung “was a highly educated man, a scholar knowing six or seven oriental languages, Hebrew, Arabic, Ethiopian, and others” (p. 98). Bennet noted three dreams Jung had. The first took place not long after his death. Albert Oeri indicated that the dream took place around six weeks after Paul Jung’s death (Oeri as cited by Jung, 1977, p. 5). In this dream, “his father was taller than C. G. In life he was shorter. C. G. saw him

68 TREASURE HUNTING in his house, and there was a medieval library as big as the Reading Room at the British Museum. This meant the development of the intellectual side” (p. 98). Bennet (1985) further remarked that Jung dreamt again about his father in 1922. Jung provides a detailed account of this dream his in Memories, Dreams, Reflections. In the dream, Jung’s father enquires about marriage psychology. Jung’s mother died the following spring. Jung suggests that his father was seeking out counsel because his relationship with his wife had been a rocky one during their married life. Jung interpreted this dream as anticipating the death of his mother. (p. 98) Jung had a third dream about his father in 1947. In this dream, Jung’s father was taller and they were both located in an ancient Indian town not far from Agra, or Chataputri, and C. G. was an adolescent. Bennet described the dream as follows: Two young workmen in a shed opposite were behaving in a way like poltergeists and making a fearful row by throwing bits of timber about in a purposeless manner. When Jung had the dream he was preparing to write Aion. (p. 99) Bennet opined that the dream was a sort of an initiation for Jung. Laurens van der Post (1975) covered The Red Book material at some length in his biography of Jung. In a chapter titled “Errant and Adventure,” van der Post reviews the highlights of Jung’s confrontation with the unconscious and, besides making some interesting comparisons between Dante and Jung, covers very little new territory. Jung (1989/2012) also directly referred to Dante while describing his Red Book experiences: “Elijah had said that it was just the same below or above. Compare to Dante’s inferno”

69 TREASURE HUNTING (p. 105). Van der Post (1975) pointed out some noteworthy parallels between Jung’s Nekyia and Dante’s visionary drama: Dante too had to go down into a netherworld right to its uttermost depths. Only Dante’s task was easier because he was, in a sense, supported by one of the most highly organized systems of religion the world has ever seen. The vast establishment of the Holy Church maintained a belief that the terrible world of the Divine Comedy did exist, and accepted such events as Dante described as facts of life. . . . Dante’s imagination was following a way not only comprehensible to his peers but in keeping with the religious tradition of the day. Yet this journey down to Jung’s too was essentially a Dante-esque journey, although the vehicle was not poetry and the object scientific, however, religious the intent. (p. 159) Van der Post also drew the reader’s attention to the cosmological structure of both men’s figurative night-sea journey: “All these, of course, are quintessential elements in the classical pattern of confrontation of so cosmic an order” (p. 159). What van der Post suggested, although not explicitly expressing it, are the qualitative differences in cosmological experiences of both men. As I have already observed, Dante benefited by already having a fixed Christian cosmological system that served as the backdrop of his fantasies whereas Jung had to create his own, which was predominantly induced as a result of his own active imagination and his extensive knowledge of literature and mythology. Whereas Dante was accompanied to the underworld by the pagan Virgil, Jung (2009) initially relied on his soul to guide him. “My soul, where are you? Do you hear me? I speak, I call you—are you there?” (p. 232). Only later did Jung turn to Philemon,

70 TREASURE HUNTING who represented superior insight. Van der Post proceeded to quote Jung: “there is the eternally feminine soul of man where it belongs in the dark feminine earth and see how tenderly and conveniently she holds in her arms the child—our greater future self” (Jung as cited in van der Post, 1975, p. 160). Thus, as van der Post suggested, “Jung also was guided in this going down as he had been up to the edge of the abyss by a spirit that was essentially feminine” (p. 160). Interestingly, van der Post suggested that Jung’s Yellow Castle painting (image 163) is the final image in Liber Novus, which of course is not the case. Last of all there is a painting of a castle, four-square, as in a green-gold haze of space and time. It is of a design Jung was later to recognise from the Chinese material brought to him from the lonely Wilhelm as another imprint of the abiding theme of their yellow castle. (p. 182) Van der Post added: The last page of the Red Book is finally turned and Jung, fortified, returns to the world of recorded history and time, to put his journey in the context of his own increasingly desperate day and produce facts and evaluations of his achievement in an idiom contemporary man can understand. . . . How long the confrontation had lasted and in what protracted detail it had been fought, recorded, and all the psychological spoil specified and classified, emerges from the single statistical fact that the year wherein he painted the castle which announced the last battle won and the campaign ended was the year 1928. (p. 183) Although van der Post did not provide an exact date as to when he first met Jung, he indicated that he met him after returning from Africa. He also noted that his wife, at the

71 TREASURE HUNTING time, was studying at the “newly formed” C. G. Jung Institute at Zurich (p. 37), which suggests that van der Post met Jung in October 1949 (Jones, 2002, p. 320). There seems to be only two plausible explanations for why van der Post believed that the Yellow Castle image was the final painting in Liber Novus: (a) He never actually saw the Liber Novus and incorrectly attributed the Yellow Castle as the final image, or (b) van der Post did in fact access Liber Novus, however, at a time prior to Jung painting image 169, which Shamdasani has estimated at around 1930. In a biography written on van der Post, J. D. F. Jones (2002) wrote that “In 1955 he [van der Post] and Ingaret recorded a long interview in Jung’s home for BBC Radio” (p. 322). According to Jones, the film of the interview included the first sighting of Liber Novus (p. 322). So at the very least it seems that van der Post did in fact have at least proximal access to Liber Novus at one time, and if he did look at it in 1955, that would suggest based on his account that image 169 was created much later than 1930. Finding a satisfactory answer to this question and others is central to this dissertation. Another biographical source that is worth mentioning is the more recent publication by Claire Dunne (2000/2012) Carl Jung: Wounded Healer of the Soul. In this work, Dunne provided an overview of Jung’s life and the development of his ideas from childhood into late adulthood. The book contains a plethora of colorful illustrations taken from Jung’s life and researches, to include some Red Book material. The biography is balanced and objective, sticking mostly to the facts and avoiding any forays into speculation. Dunne dedicated two short chapters to Jung’s confrontation of the experience, and of this series of events, wrote:

72 TREASURE HUNTING What Jung called the confrontation with the unconscious has been known to humanity from spiritual history through the aeons. It’s in the Gnostic texts of early Christianity, the dark night of the soul of St. John of the Cross, the shamanic trials of primal cultures, the Nekyia episode of Homer’s Odyssey, the night sea journey recorded in many mythologies. It is personal and collective, an initiation of death and rebirth, only undertaken by the few and always perilous. (p. 69) Unfortunately, the chapter is relatively short and covers mostly already known material which is better treated elsewhere. Not surprisingly, Dunne made no mention of image 169. The books presents a succinct introduction of Jung’s life and work and is best suited for the layperson that is interested in Jung’s ideas. Psychological perspectives. The genesis of Jung’s fascination with what is usually termed as the occult predates the documentation of his “confrontation of the unconscious” by about 18 years. Jung originally took up an interest in the occult, spiritualism, and life after death in the mid-1890s. His dissertation, “On the Psychology and Pathology of the So-Called Occult Phenomena,” dealt with his thoughts and observations regarding so-called occult phenomena, a work that I will subsequently review. Jung’s study of spiritualism and the occult is further documented in chapter 11 of Memories, Dreams, Reflections. And Jung’s Collected Works are steeped in essays and papers that address various aspects of the research question. Another useful resource is Charet’s (1993) Spiritualism and the Foundations of C. G. Jung’s Psychology, which addresses the source of Jung’s interest in spiritualism and how it influenced his psychology. Charet provided a thorough review of the influence of spiritualism on Jung. The author detailed Jung’s youthful study of

73 TREASURE HUNTING spiritualism, particularly through his participation in séances in the 1890s, and aspired to elucidate some of the reasons why Jung’s psychology has both religious and scientific overtones. The book also charts the complex relationship between Jung’s education, his personal experiences, and his family background living in fin de siècle Europe. Charet also provided a summary of the phenomenon of spiritualism from its inception in 1848, and how it became a movement which would not only have religious ramifications but also scientific ones. It is worth mentioning that Charet discussed Jung’s older brother: “An event that Jung never included in the tangle of his earliest memories is the death of his elder brother, named after his father, Paul Jung. He was born in August 1873 and died soon after” (p. 71). In fact, Bair (2003) indicated that two additional siblings died prior to Jung’s birth; a sister stillborn on July 19, 1870 and a second sister stillborn on April 3, 1872 (p. 18). A loss of this magnitude evokes the phenomenon of the replacement child. In her paper, “Life after Death: The Replacement Child’s Search for Self,” Jungian analyst Kristina Schellinski (2006) defined the term as any child who is born to replace a child who died, or who was born shortly after such a death, or who “replaced” a sibling who died later on during the years of growing up together and whose role may have been reassigned to the “replacement child.” (p. 3) Through a depth psychological lens, the replacement child suggests a continuation of the life of the deceased child in the form of another. Accordingly, one could say that Jung’s birth constellated the appearance of life after death, a psychological motif that figures prominently in this dissertation. Although there are no explicit sources that expose Jung’s

74 TREASURE HUNTING feelings in regards to his status as a replacement child, it likely had a profound effect on him given the course his life would ultimately follow. According to Schellinski (2006) “the life of a replacement child is not exactly paradise, especially since the one resurrected is not oneself but the dead other” (p. 1). She further contended “that the soul of a replacement child reaches beyond the living, touches death and reaches beyond death and back to life” (p. 9). The description of a replacement child closely parallels observations Jung (1961/1989) made about himself in Memories, Dreams, Reflections. He wrote that during his childhood he realized that he had two personalities, one of which he described as “the school boy of 1890” and the second the “ ‘Other,’ who knew God as a hidden, personal, and at the same time suprapersonal secret” (p. 45). Jung’s remarks further evoke what Shantena Sabbadini called “the uncanny,” the feeling of a “double” in the replacement child, one who can easily transition between life and death (as cited in Schellinski, p. 9). Individuation seems essential for eventually reconstructing the true identity of the replacement child. Schellinski (2006) suggested that “the process of individuation offers hope for the replacement child to find his or her own life” (p. 5). One could say that the principal aim of individuation is the realization of the self, which Schellinski also addressed in her paper: In a psychological sense, the hopes for redemption of the suffering of the replacement child lie in the emergence of the true self as soul recreates original life. The images of anima/animus as well as shadow can serve, as we know, as bridges to the self. (p. 9)

75 TREASURE HUNTING “The path of individuation,” Schellinski added, “can serve as [an] antidote against the replacement child’s identification with the dead. The stirrings of the self in the soul can help the replacement child become him- or herself” (p. 8). Thus, it is helpful to consider to what degree Jung’s own individuation process was bound up with his role as a replacement child as well as his relationship to the dead. Schellinski further observed that If the suffering of the replacement child stems from the fact that its sense of “who I am” could not develop, then the discovery of one’s own center, of a creative pull towards the true self, unearthed from a heap of projective identifications and introjects, may be lived as a rebirth into one’s own life—reclaiming the originality once lost. (p. 8) Such an idea suggests an apocatastasis, a term I will subsequently define and discuss in chapter five. Charet also pointed out that Jung’s early preoccupation with the occult and spiritualism had a significant influence on the formation of subsequent theories that would become mainstays of his psychology. Jung’s early interest in spiritualism seemed to have equipped him with a certain epistemological framework for approaching the psyche, and it was during the same time period that Jung immersed himself in the study of both Kant and Swedenborg. Jung’s initial experience with spiritualism via Helene Preiswerk impressed him enough that he dedicated his entire medical dissertation to this topic. However, one can see Jung’s interest in spiritualism decline around 1903 when he took up the word association experiment. This empirical trend in his career continued until around 1912 when the tension between himself and Freud reached an impasse. Not long after, Jung’s libido turned inward and his confrontation with his unconscious

76 TREASURE HUNTING ensued. Although it requires further exploration, image 169, as indicated by its form and style, suggests some connection to Jung’s conception of spirits. In this way, image 169 might depict either Jung’s biological and/or spiritual ancestors. Admittedly, this constitutes an unsubstantiated conjecture. Jung’s position on spirits and archetypes was a tentative one that evolved throughout his long career. The book The Psychology of Peoples has some interesting ideas that influenced Jung’s psychology and the notion of a symbiotic relationship between the ideas of the past (i.e., dead) and the living. The crowd psychologist Gustav Le Bon (1898) seems to have aptly articulated these views when he wrote: The dead, besides being infinitely more numerous than the living, are infinitely more powerful. They reign over the vast domain of the unconscious, that invisible domain which exerts its sway over all the manifestations of the intelligence and of character. A people is guided far more by its dead than by its living members. It is by its dead, and by its dead alone, that a race is founded. Century after century our departed ancestors have fashioned our ideas and sentiments, and in consequence all the motives of our conduct. The generations that have passed away do not bequeath us their physical constitution merely; they also bequeath us their thoughts. The dead are the only undisputed masters of the living. We bear the burden of their mistakes, we reap the reward of their virtues. (Kindle Locations 317-322) However, for some the book and its associated ideas could be viewed as controversial for the antiquated position on race. It is not difficult to suggest that Jung’s thinking was likely influenced by some of the key tenets of Le Bon’s psychological principles. By

77 TREASURE HUNTING 1910, Jung’s thinking was definitely headed toward a theory of the collective unconscious, which Jung, in some instances, tended to compartmentalize along racial lines. Starting with the “On the Psychology and Pathology of the So-Called Occult Phenomena,” Jung (1902/1970) began his psychological career, one that would go on to span six decades. The object of his study was the séances of his cousin Helene Preiswerk, who I mentioned in a previous section. In his dissertation, Jung returned to his detailed observations from the séances he attended in the 1890s, and proceeded to analyze the phenomenon through psychiatric tools and methods. It seems to me that this time period, and Jung’s interest in spiritualism, served as a prelude to his confrontation with the unconscious. The event known as his confrontation with the unconscious could be viewed as a more intense and lengthy variant of his initial encounter with spirits in the 1890s. Jung’s first major paper is far more clinical than his subsequent major works, which is not surprising given that it was his medical dissertation. Simply put, Jung could not afford to flirt with bold assertions at such an early and fragile point in his career. Jung’s attention to detail throughout the dissertation was remarkable, which the following passage shows: The following case was under my observation during the years 1899 and 1900. As I was not in medical attendance upon Miss S. W., unfortunately no physical examination for hysterical stigmata could be made. I kept a detailed diary of the séances, which I wrote down after each sitting. The report that follows is a condensed account from these notes. Out of regard for Miss S. W. and her family, a few unimportant data have been altered and various details omitted from her

78 TREASURE HUNTING “romances,” which for the most part are composed of very intimate material. (CW1, para. 36) Jung provided a detailed account of Miss S. W.’s (i.e., Helene Preiswerk) somnambulistic states. The reason that Jung’s medical dissertation is pertinent to his confrontation with the unconscious, and potentially image 169, is that it outlines Jung’s first encounter with anomalous phenomena that he would dedicate his entire life to exploring. Jung also provided a very interesting account of a séance involving the spirit of S.W.s’ grandfather (i.e., Samuel Preiswerk): Immediately after this sitting S. W. became acquainted with Justinus Kerner’s book Die Seherin von Prevorst. She thereupon began to magnetize herself towards the end of the attacks, partly by means of regular passes, partly by strange circles and figures of eight which she executed symmetrically with both arms at once. She did this, she said, to dispel the severe headaches that came after the attacks. In other August sittings (not detailed here) the grandfather was joined by numerous kindred spirits who did not produce anything very remarkable. Each time a new spirit appeared, the movements of the glass altered in a startling way: it ran along the row of letters, knocking against some of them, but no sense could be made of it. The spelling was very uncertain and arbitrary, and the first sentences were often incomplete or broken up into meaningless jumbles of letters. In most cases fluent writing suddenly began at this point. (para. 49) Jung also detailed the development of S. W.’s unconscious personalities. Jung figured that each spirit represented a separate part of her personality, a phenomenon he would later call a complex, which is a point Jung would subsequently make explicit:

79 TREASURE HUNTING “They are not lost; but as repressed thoughts, analogous to the idea of Ivenes, they begin to lead an independent existence as autonomous personalities” (para. 132). Jung’s early study and exploration into the province of spirits (i.e., spiritualism) could relate to image 169 for what it seems to portray visually: a throng of distinct spirit sub-personalities or discarnate entities that encircle a central point, which seems to depict a symbol of the self (i.e., flower, star). Jung also posed scientific questions to the somnambulist, which culminated in the production of an arcane mandala, whose detail, given that it originated from a fantasy, is very compelling. Jung articulated the medium’s explanation of the mandala: The forces are arranged in seven circles. Outside these there are three more, containing unknown forces midway between force and matter. Matter is found in seven outer circles surrounding the ten inner ones. In the centre stands the Primary Force; this is the original cause of creation and is a spiritual force. The first circle which surrounds the Primary Force is Matter, which is not a true force and does not arise from the Primary Force. But it combines with the Primary Force and from this combination arise other spiritual forces: on one side the Good or Light Powers [Magnesor], on the other side the Dark Powers [Connesor]. The Magnesor Power contains the most Primary Force, and the Connesor Power the least, since there the dark power of matter is greatest. The further the Primary Force advances outwards the weaker it becomes, but weaker too becomes the power of matter, since its power is greatest where the collision with the Primary Force is most violent, i.e., in the Connesor Power. In every circle there are analogous forces of equal strength working in opposite directions. The system

80 TREASURE HUNTING could also be written out in a single line or column, beginning with Primary Force, Magnesor, Cafar, etc., and then—going from left to right on the diagram— up through Tusa and Endos to Connesor; but in that way it would be difficult to see the different degrees of intensity. Every force in an outer circle is composed of the nearest adjacent forces of the inner circle. (para. 66) The mandala was apparently the first one that Jung encountered, although it was not called a mandala at the time. Jung referred to the diagram as a “power system” (para. 71) or “mystic system” (para. 144) (Figure 4). It is also of interest that some of the features of the medium’s so-called “mystic system” resemble parts

Figure 4. Helene Preiswerk’s “Mystic System” (Jung, 1902/1970, CW1, para. 66). Public domain.

of the mandala (i.e., Systema Munditotius) Jung sketched in his Black Books. Jung’s Systema Munditotius (Figure 5) is also arranged in concentric Figure 5. Jung’s Systema Munditotius (Jung, 2009, p. 364, Appendix A). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc., the Foundation of the Works of C. G. Jung, and Robert Hinshaw.

circles (or spheres), although they number 14 as opposed to seven. Jung ascribed “force” to his 1916 mandala as well. The noted similarities suggest that Jung’s forays into spiritualism carried over into the elaborate creative fantasies he experienced between 1913 and 1916. Jung’s

1916 mandala was also composed of nested affinities (i.e., hierarchical correspondences). It merits mention that Jung compared the medium’s experience with what was described

81 TREASURE HUNTING by Swedenborg several times in the dissertation. Jung reported that over time the intensity of the mediumistic effects faded resulting in the medium feigning trances. According to Jung, she was later caught “cheating” (para. 71). In his analysis of the case, Jung remained tentatively open to possibilities. At one point, he suggested that hypnagogia could account for the hallucinations experienced by the medium. Jung opined that “It is very probable that hypnagogic images are identical with the dream-images of normal sleep, or that they form their visual foundation” (para. 101). Jung detailed the case and offered tentative explanations, often turning to Flournoy’s (1900/2008) study of Helene Smith. Jung further suggested cryptomnesia as a plausible explanation for some of the peculiar symptoms exhibited by the medium. He even used Nietzsche as an example of a writer who had apparently unconsciously plagiarized some material from Justinius Kerner’s The Seeress of Prevorst in his principal work Thus Spoke Zarathustra (Jung, 1902/1970, para. 140). Ultimately, Jung supposed that the medium’s unconscious fabricated the fantasies from the extant residue of her conscious mind. Jung viewed the medium’s popular knowledge of astronomy and other concentric systems as a likely explanation for the structure of her mandala (para. 144). He also suggested that a source of influence for the medium’s mandala system be the “life-circles” (para. 148) depicted in The Seeress of Prevorst. As previously indicated, Jung experienced a number of inexplicable parapsychological events throughout his life. One of the most notable experiences was what he reported as a poltergeist phenomenon at his house in Kusnacht on January 30, 1916, which he described in Memories, Dreams, Reflections. This event gave rise to one of Jung’s most peculiar texts: “The Seven Sermons to the Dead.” It seems that whether

82 TREASURE HUNTING we are exploring Jung’s early dalliances with spiritualism or his confrontation with the unconscious, this pattern of interest is consistent and seems relevant to image 169 for what it portends to communicate because of its style, form, and content. In “Psychological Foundations of Belief in Spirits,” Jung (1948/1969a), made an excursion, albeit on empirical grounds, into the psychological belief in spirits. Jung’s theorizing is largely predicated on his original experience with spiritualism, which he recounted in “On the Psychology and Pathology of the So-Called Occult Phenomena.” From the outset, Jung acknowledged that the belief in what are popularly known as spirits is a ubiquitous phenomenon: If we look back into the past history of mankind, we find, among many other religious convictions, a universal belief in the existence of phantoms or ethereal beings who dwell in the neighborhood of men and who exercise an invisible yet powerful influence upon them. These beings are generally supposed to be the spirits or souls of the dead. This belief is to be found among highly civilized peoples as well as among Australian aborigines, who are still living in the Stone Age. Among Western peoples, however, belief in spirits has been counteracted by the rationalism and scientific enlightenment of the last one hundred and fifty years, so that among the majority of educated people today it has been suppressed along with other metaphysical beliefs. (CW8, para. 570) Jung suggested that what is essential to psychology is not the reality of spirits per se, but the reality of a universal belief in spirits. On this point, Jung was promoting science as the best instrument to explore these ideas. He proceeded to commend scientists like Crookes, Myers, Wallace, and Zöllner, for having the courage to explore a phenomenon

83 TREASURE HUNTING that is so often subject to the unfounded derision and ridicule of the general public. Jung added: Even if the real nature of their observations be disputed, even if they can be accused of errors and self-deception, these investigators have still earned for themselves the undying moral merit of having thrown the full weight of their authority and of their great scientific name into these endeavours to shed fresh light on the darkness, regardless of all personal fears and considerations. (para. 571) In his controversial book The Aryan Christ, Richard Noll (1997) wrote that in his college years, Jung’s most extensive studies dealt with spiritualism, the occult and other thencutting-edge techniques such as mesmerism. Noll further suggested that The existence of the human soul and its survival after death were open questions that still required answers, and during his medical-school days his heroes were psychical researchers who approached this problem scientifically, such as William Crookes, J. C. F. Zöllner, Cesare Lombroso, F. W. H. Myers, and William James. All of them speculated about a medium outside of the known constraints of time, three-dimensional space, and causality that would account for such phenomena as thought transference and precognition. Some argued that evidence for such phenomena also supported the hypothesis of postmortem survival or the existence of other realities coexistent with our own. Zöllner, for example, in Transcendental Physics (1879), hypothesized the existence of a “fourth dimension” of reality as a place from which “four dimensional beings” occasionally entered our experiential world through the filter of the symbolic contents of our own memories and mind,

84 TREASURE HUNTING an idea that Jung reworked again and again throughout a lifetime of speculation on parapsychological phenomena. Indeed, we can only conclude that Jung’s encounter with his spiritual guru Philemon during the First World War derived from his youthful desire to communicate with the sorts of fourth-dimensional beings that Zöllner claimed were likely to exist. (p. 31) Jung (1948/1969a) went on to attribute, in some cases, the belief of spirits to hallucinations and other forms of mental illness. In this vein, Jung was not hesitant about psychologizing the existence of spirits and souls—which he asserts are two different things—by equating them to psychic fragments: But this assumption does not prevail everywhere; it is frequently supposed that people have two or more souls, one of which survives death and is immortal. In this case the spirit of the dead is only one of the several souls of the living. It is thus only a part of the total soul—a psychic fragment, so to speak. (CW8, para. 577) Jung suggested three primary sources of the psychological belief of spirits: “the seeing of apparitions, dreams, and pathological disturbances of psychic life” (para. 579). Jung identified the dream as the most commonly experienced one of the three. Jung defined the dream in the following passage: A dream is a psychic product originating in the sleeping state without conscious motivation. In a dream, consciousness is not completely extinguished; there is always a small remnant left . . . . In the waking state the psyche is apparently under the control of the conscious will, but in the sleeping state it produces

85 TREASURE HUNTING contents that are strange and incomprehensible, as though they came from another world. (para. 580) Jung proceeded to put visions into the same class as dreams ascribing them to “the momentary irruption of an unconscious content” (para. 581). Jung provided the example of St. Paul as a prime example of a person who experienced a momentary irruption of an unconscious content when he was “blinded by the light” (Acts 22:11). Jung subsequently turned to his complex theory to account for the phenomena of spirits and souls. Jung underscored that what is not associated with the ego is experienced as something wholly other, which functions independent of the ego, or what Jung referred to as autonomous complexes or splinter psyches. Jung pointed out that the ego itself is merely another complex, however, the one that usually exercises exclusive control over its domain. Jung concluded that “Spirits, therefore, viewed from the psychological angle, are unconscious autonomous complexes which appear as projections because they have no direct association with the ego” (para. 585). It is also important to reiterate that Jung distinguished between soul and spirit. “The soul-complexes seem to belong to the ego and the loss of them appears pathological. The opposite is true of spirit-complexes: their association with the ego causes illness, and their dissociation from it brings recovery” (para. 587). Thus, whereas soul-complexes are something that we should aspire to associate with the ego, spirit-complexes, Jung wrote, “should not become associated with it” (para. 587). Much later in his career Jung altered his original psychological position on the topic, as evidenced by a footnote added to the 1948 revision of “Psychological Foundations of Belief in Spirits.” Jung (1948/1969a) wrote the following:

86 TREASURE HUNTING After collecting psychological experiences from many people and many countries for fifty years, I no longer feel as certain as I did in 1919, when I wrote this sentence. To put it bluntly, I doubt whether an exclusively psychological approach can do justice to the phenomena in question. Not only the findings of parapsychology, but my own theoretical reflections, outlined in “On the Nature of the Psyche,” have led me to certain postulates which touch on the realm of nuclear physics and the conception of the space-time continuum. This opens up the whole question of the transpsychic reality immediately underlying the psyche. (p. 318, n. 15) Thus, one can see that Jung initially (circa 1918) approached the phenomenon of spirits on a purely psychological basis, which he rendered in empirical terms. Jung also pointed out that complexes do not necessarily have to originate from one’s personal history (personal unconscious) but can arise from an unknown source that has its origin within the collective unconscious. But there are others that come from quite a different source. While the first source is easily understood, since it concerns the outward life everyone can see, this other source is obscure and difficult to understand because it has to do with perceptions or impressions of the collective unconscious. . . . At bottom they are irrational contents of which the individual had never been conscious before, and which he therefore vainly seeks to discover somewhere outside him. (para. 594) In this case, Jung was hesitant to attribute any specific cause other than that the complex laden symptoms originate from a collective layer of the psyche far beyond the provincial

87 TREASURE HUNTING boundaries of the ego. Interestingly, Jung equated the second kind of complexes to spirits. Spirits are complexes of the collective unconscious which appear when the individual loses his adaptation to reality, or which seek to replace the inadequate attitude of a whole people by a new one. They are therefore either pathological fantasies or new but as yet unknown ideas. (para. 597) Finally, in what seems as an unusual use of scientific language, Jung stated that The psychogenesis of the spirits of the dead seems to me to be more or less as follows. When a person dies, the feelings and emotions that bound his relatives to him lose their application to reality and sink into the unconscious, where they activate a collective content that has a deleterious effect on consciousness. (para. 598) Jung seems to have suggested that a libidinal fragment of the deceased personality remains after death, which then constellates certain unconscious contents. Jung’s initial efforts are laudatory in that he avoided making any metaphysical assertions and stuck to psychological facts. “I myself am convinced that ghosts and suchlike have to do with psychic facts of which our academic wisdom refuses to take cognizance, although they appear clearly enough in our dreams” (para. 598). At the end of the essay, Jung (1948/1969a) emphasized that his interpretation is psychological. Jung wrote: “I have confined myself wholly to the psychological side of the problem, and purposely avoided the question of whether spirits exist in themselves and can give evidence of their existence through material effects” (para. 599). However, Jung seemed to be attempting to clothe his original visionary experiences into conceptual

88 TREASURE HUNTING attire. Jung’s heuristic shortcut is his psychological postulate of psychic realism or esse in anima. At the very end, Jung asserted what he terms as a primitive equation: “spirit-land = dreamland (the unconscious)” (para. 599). Another important work in the Jungian canon, that seems relevant to the dissertation topic, is “The Relations between the Ego and the Unconscious.” The lengthy paper was originally published in 1916 as “The Structure of the Unconscious,” which would situate the genesis of its principal ideas sometime during Jung’s confrontation with the unconscious. Regarding the importance of this early work, Jung (1928/1966) wrote that he “attempted for the first time to give a comprehensive account of the whole process” (p. 123). In this essay—“The Relations between the Ego and the Unconscious”—Jung distinguished between his concept of the self and the ego. Jung further clarified that in 1928, new empirical discoveries and observations led him to revise the said work. The essay is important in that it sheds light on Jung’s early thinking on the relation between the ego and the unconscious during his formative years (19161928). The time period also seems relevant in that between 1928 and 1930 Jung’s interests began to shift to alchemy, a project that went into full swing around 1935. Jung also mentioned the final chapter of The Secret of the Golden Flower as a continuation of this work, which demarcates a turning point in Jung’s long career. Per Bennet (1985), Jung indicated to him that after he wrote “The Relations between the Ego and the Unconscious” he became interested in Chinese thought, which coincided with his acquisition of Wilhelm’s manuscript on The Secret of the Golden Flower (p. 71). Jung provided the reader with an extensive review of his theories in the paper. Jung also went to great lengths to distinguish his theories and methods from Freud’s, who

89 TREASURE HUNTING at the time was promoting psychoanalysis to the world at large. Shamdasani (2013) identified this paper as a “critical text” (p. 134) and wherein Jung tried to translate his Red Book experiences into ideas that could be understood and accepted by the “medicoscientific public” (p. 136). Jung (1961/1989) himself, felt the paper important enough to reference it in his autobiography. Jung indicated that this essay was the answer to the following question: “What does one do with the unconscious?” (p. 207). Through a series of case studies, descriptions, and illustrations, Jung expounded on the interrelationship between the central ideas of his psychology, ranging from nature of the dream to the concept of the persona as a collective segment of the psyche, to the meaning of the anima/animus, and the basic idea of individuation. In this essay, Jung seemingly covered it all in about 77 pages. In a similar vein to the “Psychological Foundations of Belief in Spirits,” Jung (1928/1966) further expounded on the idea of the “existence of spirits.” “Spirit” is a psychic fact. Just as we distinguish our own bodiliness from bodies that are strange to us, so primitives—if they have any notion of “souls” at all— distinguish between their own souls and the spirits, which are felt as strange and as “not belonging.” They are objects of outward perception, whereas their own soul (or one of several souls where a plurality is assumed), though believed to be essentially akin to the spirits, is not usually an object of so-called sensible perception. After death the soul (or one of the plurality of souls) becomes a spirit which survives the dead man, and often it shows a marked deterioration of character that partly contradicts the notion of personal immortality. (CW7, para. 293)

90 TREASURE HUNTING Of course, in the passage above Jung was speaking in terms of the psychological beliefs of spirits by so-called primitives. Again, not unlike his conception of spirits in “Psychological Foundations of Belief in Spirits,” Jung assigned psychic rather than metaphysical reality to spirits and revenants: “And just as the communications from the ‘Beyond’ can be seen to be the activities of broken-off bits of the psyche, so these primitive spirits are manifestations of unconscious complexes” (para. 293). Jung proceeded to equate his early concept of the parent imago with the experience of ancestral spirits. Jung suggested that just as the image of the parent continues to have psychic effects after their physical demise (i.e., parental complex), aboriginal peoples view their ancestors as living revenants that appear at night and in their dreams. The difference then, is one of degree rather than kind (para. 294). Throughout the remainder of the paper, Jung explained the idea of anima and animus. It is not difficult to discern certain ideas originally put forward in Liber Novus in this section. For instance, Jung (1928/1966) wrote: The autonomy of the soul-complex naturally lends support to the notion of an invisible, personal entity that apparently lives in a world very different from ours. Consequently, once the activity of the soul is felt to be that of an autonomous entity having no ties with our mortal substance, it is but a step to imagining that this entity must lead an entirely independent existence, perhaps in a world of invisible things. Yet it is not immediately clear why the invisibility of this independent entity should simultaneously imply its immortality. (para. 303) Thus, one can easily discern Jung’s forays into psychic realism. From Jung’s point of view, the soul is not only psychologically real (esse in anima) but has an independent

91 TREASURE HUNTING reality. Jung’s observations and theorizing seem to have stemmed from the active imaginations depicted in Liber Novus. After Jung described the phenomenology of the noted figures of the unconscious as well as various functional complexes, he turned to the important topic of differentiation between the ego and all the other imaginal flotsam and jetsam that characterize psychic life. Jung suggested that that the unconscious stands in a compensatory relationship to consciousness. In this way, Jung went to great lengths to describe the basic aims of psychological differentiation and compensation. The whole cultural picture is viewed as a psychic tug-of-war between the conscious mind and the dominant forces operative in the unconscious. In this section of the essay, Jung underscored the importance of libido in giving form and shape to fantasy-images. Jung was emphasizing that the psyche, just like any system, can be described in terms of energy, or in this case, libido. For something to become conscious it must have sufficient libido to do so, otherwise it remains unconscious, and fantasy-images are no exception. The ego requires a surplus of libido to make anything conscious, and one can only direct energy into one area of the psyche by taking it from somewhere else. The psyche is restricted by the amount and configuration of its total store of energy (i.e., libido). Thus, one could say that the psyche is a self-regulating system. Jung acknowledged that becoming oneself (i.e., individuation) is an arduous and life-long task that in optimal circumstances takes place when people consciously differentiate themselves from the contents of the unconscious. Jung (1928/1966) articulated this very point when he wrote: We must recognize that nothing is more difficult to bear with than oneself. (“You sought the heaviest burden, and found yourself,” says Nietzsche.) Yet even the

92 TREASURE HUNTING most difficult of achievements becomes possible if we can distinguish ourselves from the unconscious contents. The introvert discovers these contents in himself, the extravert finds them projected upon human objects. In both cases the unconscious contents are the cause of blinding illusions which falsify ourselves and our relations to our fellow men, making both unreal. For these reasons individuation is indispensable for certain people, not only as a therapeutic necessity, but as a high ideal, an idea of the best we can do. (para. 373) Jung went on to describe a vision in the essay, which he subsequently attributes archetypal meaning: He will also recognize without difficulty the famous medieval conundrum of the squaring of the circle, which belongs to the field of alchemy. Here it takes its rightful place as a symbol of individuation. The total personality is indicated by the four cardinal points, the four gods, i.e., the four functions which give bearings in psychic space, and also by the circle enclosing the whole. Overcoming the four gods who threaten to smother the individual signifies liberation from identification with the four functions, a fourfold nirdvandva (“free from opposites”) followed by an approximation to the circle, to undivided wholeness. This in its turn leads to further exaltation. (para. 367) Jung’s observations above are important to the research problem for amplification and thus I will later turn to the personification of the four functions as gods, or as indicated elsewhere, as psychic compass markers. Another important work in Jung’s canon that seems relevant to the insights he gleaned from his confrontation with the unconscious and subsequent theorizing, is the

93 TREASURE HUNTING essay “On Psychic Energy.” Jung first published the work in 1928, which was an important year in the development of his ideas. The year also seems important because it was the same year he received The Secret of the Golden Flower manuscript from Richard Wilhelm, which would explain Jung’s position on the transpersonal nature of the psyche. What makes this essay stand out from others is Jung’s description of his concept of psychic energy. Jung attempted to clarify his theory of psychic energy, and how it relates to the psyche. From the outset of the essay, Jung distinguished between two different standpoints, mechanistic and what he calls “energic.” Jung (1948/1969b) equated the mechanistic point of view with efficient causality whereas on the other hand, he describes an energy configuration that is complementary of the causal viewpoint, which he calls “final” (CW8, para. 3). With this distinction, Jung (1948/1969b) was presumably influenced by Aristotle, who in his philosophical work put forward the idea of four causes, two of which were efficient and final. An efficient cause adheres closely to the conventional understanding of mechanistic causality, referring to directional motion. “The mechanistic view is purely causal; it conceives an event as the effect of a cause, in the sense that unchanging substances change their relations to one another according to fixed laws” (para 2). On the other hand, a final cause or telos, assumes a particular purpose with an unknown goal. According to Jung: “Finality is not only logically possible, it is also an indispensable explanatory principle, since no explanation of nature can be mechanistic only” (para. 4). Jung further acknowledged that both points of view are indispensable to a systematic understanding of the concept of energy. Jung stressed that both viewpoints are valid;

94 TREASURE HUNTING however, too much adherence to one view over the other can lead to “error of hypostatizing their principles” (para. 5). Jung subsequently turned to the application of the energic standpoint. In this section of the essay, Jung provided a sketch of his concept of psychic energy. Jung distinguished the universal psychic energy from life energy, or libido (para. 32). The essay is of particular interest because it is by far one of the most scientific of all of his papers. Jung liberally drew from concepts usually reserved to the field of physics like entropy and the law of conservation of energy. Jung was attempting to level the playing field and show that the psyche could be examined empirically as an energic selfregulating system. Jung applied the energy concept to a number of his key ideas ranging from symbol-formation to extraversion. Again, the essay is of central importance because it outlines the development of Jung’s thinking on a critical topic at a turning point in his life. Jung made an oblique comparison of his own conception of libido with Bergson’s elan vital. Shamdasani (2008) put forward the idea that Jung’s paper on psychic energy helps build an ontological foundation in which life after death is at least theoretically plausible (p. 15). In Jung’s view, Freud tried to explain everything through the terms of sexuality, and he relied too heavily on a strict psychosexual interpretation of the libido concept. Conversely, Jung (1948/1969b) described the term energy as a broad concept that subsumed a number of instinctual impulses, to include sexual behavior. He described his conception of energy as “mental energy” (CW8, para. 9) and viewed his typology as a systematic description of specific energy manifestations through the functions. Jung also indicated that he believed that Bergson’s elan vital concept was too specific. Jung

95 TREASURE HUNTING observed that “Energy is irreversible and goes in one direction, and the goal of energy is no energy—that is entropy” (Jung as cited in Bennet, 1985, p. 116). Jung seems to have applied this process to his individuation principle “The aim of an oak tree is to be an oak tree; it can only grow from below to above, in one direction” (p. 116). Jung’s major work Psychological Types is on par with Symbols of Transformation in regards to its importance in the development of his ideas. Published in 1921, the work marks Jung’s return from his fallow period (1913-1919), which partially coincided with his “confrontation with the unconscious.” Psychological Types is the first major articulation of Jung’s psychological system, as evidenced by his introduction of typology and an expansive lexicon of psychological terms that are uniquely his own. Shamdasani (2009) pointed out that “By 1921 with Psychological Types he already found that his sanctum could furnish him his main themes, through translation into a scholarly idiom” (p. 223). It also seems meaningful that Symbols of Transformation and Psychological Types serve as figurative bookends for Jung’s confrontation of the unconscious. By evaluating these works together, we can ostensibly see where Jung was when he entered his own Nekyia and where he was when he returned to the world. Thus, one could say that Psychological Types provides a partial synthesis of what Jung had learned between 1913 and 1919. For instance, Shamdasani (2012) pointed out that Jung used chapter five (“Type Problem in Poetry”) of Psychological Types to present some of the ideas he abstracted from his Red Book experience, such as “emergence of the reconciling symbol” (p. 138). Before and during Jung’s confrontation with the unconscious he was studying psychological types. In fact, in September 1913, just a month before his first vision, Jung

96 TREASURE HUNTING spoke on psychological types at the Munich Psycho-Analytical Congress (Shamdasani, 2009, p. 198). Furthermore, in his 1925 Seminar, Jung (1989/2012) detailed his experience with the imaginal figures he originally encountered in 1913. In retrospect, Jung interpreted the original personifications as specific principles or types. Each personification exhibited peculiar characteristics that Jung associated with a specific type (p. 97). Jung associated Elijah with thinking, Salome with feeling, and the black serpent with sensation. Although one could say that Jung was merely reflecting on an experience and applying his typological model to it, the noted phenomenology of his active imaginations seemed to support his then nascent theory of types. In Liber Novus, Jung (2009) observed “Some have their reason in thinking, others in feeling. Both are servants of Logos, and in secret become worshipers of the serpent” (p. 280). This passage seems to foreshadow Jung’s more mature view of the rational functions. A short essay that seems to offer some insightful observations about a topic that is relevant to Liber Novus, and possibly image 169, is “The Soul and Death,” Jung originally published the work in 1934 in which he discussed the psychological meaning of death. The essay is important in that Jung describes his attitude toward death. What is unique about Jung’s views on death is that he considers it a psychological goal, not something that should be shirked away from, but prepared for. I mention this in relation to image 169 because others have associated the image with either death, Jung’s ancestors, or both. Jung explored both topics and studied them for their psychological meaning. Jung acknowledged that any final explanation regarding the meaning of death is beyond the scope of empirical science and is better dealt with under the aegis of religion

97 TREASURE HUNTING and myth. Yet, an interesting passage from Jung’s (1989/2012) 1925 Seminar merits our attention for what it suggests: Instinct warns us to keep away from this racial side of ourselves. If we became aware of the ancestral lives in us, we might disintegrate. An ancestor might take possession of us and ride us to death. The primitive says, “Don’t let a ghost get into you.” By this he conveys the double idea, “Don’t let a visitor get into your unconsciousness, and don’t lose an ancestral soul.” (p. 139) From the abovementioned passage, one may glean an important insight into the psychological basis of Jung’s ontology. Effects are sufficient to demonstrate ontological content. In other words, whether we refer to these unconscious forces as spirits or autonomous complexes, we are essentially referring to the same phenomena but using different words to describe them. The hermeneutic understanding of all people is delimited by the exponents of their consciousness (i.e., language, culture, etc.). Jung (1934/1969a) returned to his conception of energy while framing death through the lens of life. He wrote: Life is an energy-process. Like every energy-process, it is in principle irreversible and is therefore directed towards a goal. That goal is a state of rest. In the long run everything that happens is, as it were, no more than the initial disturbance of a perpetual state of rest which forever attempts to re-establish itself. Life is teleology par excellence; it is the intrinsic striving towards a goal, and the living organism is a system of directed aims which seek to fulfil themselves. The end of every process is its goal. All energy-flow is like a runner who strives with the

98 TREASURE HUNTING greatest effort and the utmost expenditure of strength to reach his goal. (CW8, para. 798) Jung likened life to a parabola that at mid-point, begins to sink into death (para. 800). In this way, like life, death could be viewed in terms of thermodynamics, which at bottom would suggest a form of entropy. As an empiricist, Jung was careful about grounding his speculations to observations. He wrote Therefore I shall certainly not assert now that one must believe death to be a second birth leading to survival beyond the grave. But I can at least mention that the consensus gentium has decided views about death, unmistakably expressed in all the great religions of the world. One might even say that the majority of these religions are complicated systems of preparation for death, so much so that life, in agreement with my paradoxical formula, actually has no significance except as a preparation for the ultimate goal of death. In both the greatest living religions, Christianity and Buddhism, the meaning of existence is consummated in its end. (para. 804) At the end, Jung remained tentative about any post-mortem existence and confined himself to some tepid psychological suppositions. “In my rather long psychological experience I have observed a great many people whose unconscious psychic activity I was able to follow into the immediate presence of death” (para. 809). Jung further suggested that “The unconscious psyche appears to possess qualities which throw a most peculiar light on its relation to space and time” (para. 813). Jung mentioned telepathy and other parapsychological phenomena as prime examples. Jung suggested that telepathic phenomena may mean that the psyche, in its deepest reaches, participates in an eternal

99 TREASURE HUNTING reality which transcends the categories of space and time. Jung later used use the same observation to help formulate his synchronicity hypothesis. Another work worth mentioning is C. G. Jung Speaking. The book consists of a series of first-hand interviews and encounters with Jung, and contains a series of colorful accounts of Jung and his ideas. One of the book’s chapters consists of a series of questions posed to him at the Basel Psychology Club. One question in particularly germane to the research topic: Question 5: Can I help the spirit of my dead father by trying to live in accordance with the demands of the unconscious? Yes, provided—one must always add—that the spirit of the dead father [remains a living idea]. I call this idea hygienic, because when I think that way everything is right in my psychic life and when I don’t think that way everything goes wrong, then somewhere things don’t click, at least in the biological sense. (Jung, 1977, p. 383) Jung’s response above seems to echo a major theme in Liber Novus, which is that the dead—the past, human history, ideas—can thrive through the living present as long as they do not lose their meaning. The book also captures a very spontaneous and candid Jung, through which one can gain a better appreciation of his personality by reading the various interviews in the book. The book is also a valuable source for dates and miscellaneous details regarding Jung’s life and psychology in general. The final chapter covers a talk between Jung and Miguel Serrano. Serrano’s interview with Jung, which took place on January 23, 1961, is one of the last ones. Jung, approaching his own death—he would die on June 6, 1961—was very candid during his final interviews. In

100 TREASURE HUNTING fact, when Serrano asked Jung whether such a thing as “life after death” was possible, Jung replied: “Parapsychological phenomena suggest that it is. I myself have experienced certain things which also indicate it” (p. 466). Jung’s seminars should not be excluded from any literary review of his pertinent works. Two seminars in particular seemingly throw a great deal of light on the research problem and the meaning of Jung’s so-called confrontation with the unconscious. The first one is entitled Introduction to Jungian Psychology: Notes of the Seminar on Analytical Psychology Given in 1925. The seminar notes were originally published in 1989 and recently republished in 2012 as part of The Philemon Series. The seminar is important in that it enables the reader to see Jung in rare form, spontaneous and candid. The 1925 seminar is organized into 16 lectures that spanned a period of over three months, from March 23, 1925 to July 6, 1925. Jung elucidates a number of ideas that in 1925 were beginning to seethe into the consciousness of the general public. The seminar’s importance for elucidating and contextualizing Liber Novus cannot be overstated. In fact, because Jung provides so many explanatory references to his Red Book experience one could view the seminar as another companion to Liber Novus, which is a point echoed by Shamdasani (2012): The publication of Jung’s Liber Novus in 2009 enables it to be read in a new light, and to be seen as an essential companion to that work: a further chapter in his working through of the material and its elaboration into a conceptual form, as well as a pedagogical experiment. (p. xxiii) Throughout the lectures, Jung provided a comprehensive overview of the major concepts in his nascent psychology ranging from the philosophical origins of analytical

101 TREASURE HUNTING psychology to the fundamental principles of his typology. In this seminar Jung (1989/2012) pioneered an idea that James Hillman would later popularize and advance: “But the technical rule with regard to fantasy is to stick to the picture that comes up until all its possibilities are exhausted” (p. 36). The seminar includes a series of Question and Answer sessions, where Jung provided extensive explanations to the questions posed by his audience. These explanations tend to be more accessible than the often long-winded and multifarious articulations found in The Collected Works. The 1925 Seminar covers a broad range of Jungian concepts as well as Jung’s own interpretation of the creative fantasies he experienced between 1913 and 1916. In this way, one is also able to espy a clear window into Jung’s ideas that suggest a direct link between what he experienced in his fantasies and the formulation of his psychological types, which the fantasy figures (e.g., Elijah, Salome, etc.) epitomized. There is an interesting diagram on page 97 that Jung employed to compare typological patterns to the figures he encounters in his unconscious. For instance, Jung equated Elijah to thinking and Salome to feeling. In the end, the 1925 seminars are a rich source of scholarly information regarding Jung’s ideas at a pivotal time in the history of analytical psychology. Jung’s (1984) Dream Analysis Seminar is of singular importance to the research topic, as I will show. At 706 pages, Jung’s only other seminars that exceed it in length are The Visions Seminar, Nietzsche’s Zarathustra Seminar, and the ETH Lectures. The seminar is based on a series of 30 dreams of one of Jung’s patients. His commentary, however, widely departs from the personal scope of his patient and covers a wide range of areas which relate to the research topic. The timeline of the seminars is also important

102 TREASURE HUNTING in that the lectures range from November 7, 1928 to June 25, 1930. As discussed earlier, Shamdasani has estimated that Jung painted image 169 around 1930. If this estimate is accurate, then one could reasonably expect to locate some parallel literary and thematic material in the seminar that could indicate the direction of Jung’s thinking during the said timeframe. Admittedly, the chief drawback about the time reference is that it is merely an estimate, which Shamdasani suggested based on his extensive study and exploration of Liber Novus. As earlier indicated, another important question relevant to the topic is when Jung created the painting. Shamdasani will admit that he does not know and his date constitutes an educated supposition. The seminar is replete with scholarly nuggets of information that seem to echo certain visual and archetypal patterns characterized by image 169. For instance, on December 4, 1929, Jung described a picture created by one of the attendees depicting a cross and crescent accompanied by a large burst of energy in the middle. Jung described it as an “energic phenomenon” brought about by the opposites coming together (p. 418). It is worth mentioning that image 169 depicts what looks like an energy burst in the form of rainbow light releasing from a common center. Elsewhere, Jung introduced the picture of a flower mandala motif which looks very similar to the blue object to the right of the faces (p. 446). As mentioned earlier, people have often described this object as either a flower or a star. Jung also turned to Eastern religion and thought as a means of amplifying the meaning of mandalas in dreams and fantasies, which was an amplificatory trend that would persist throughout his career. As he explained:

103 TREASURE HUNTING Such a mandala would be a sort of map or ground plan of the structure of the psyche or self, the expression of what man is as a psychical entity. The east would understand it in this way. The main body or the virtual centre would express the self, and the parts around it would be constituents of the self, as the months or the days are the constituents of the year. (p. 452) Jung drew his audience’s attention to a number of parallels between his typology, which he will go on to further elucidate, and Tibetan knowledge systems. Jung explained: Extraversion means going out through the gates of the courtyard. The inside square is divided like this:

and each of the triangles is characterized by a

different colour and represents particular philosophical conceptions. Red is the north below, the cardinal points of the horizon being all reversed: A most interesting book, the Bardo Thodol, or The Tibetan Book of the Dead, has been translated recently by an American named Evans-Wentz. There the coloured triangles are explained, and one can identify them with the four functions as we know them in our Western Psychology, the basis of our consciousness, the four qualities of our orientation in space, and therefore identical with cardinal points of the horizon. One leaves the gates through the different functions or habitual attitudes. The man who leaves through the south gate will live in the southern world, and the man who goes out through the gate of thinking will live in the though world. But when they return, the functions do not matter; only as long as they are outside are the functions important. When he enters the courtyard of the monastery, he approaches the place where all the functions meet; in the very

104 TREASURE HUNTING centre he goes into the void where there is nothing. We cannot say that it is unconsciousness, it is a consciousness that is not. (p. 467) The foregoing passage is prescient on three points: (a) Jung (1935/1969) would eventually write a commentary for Evans-Wentz’ translation of the said work, (b) for the color schema—red, yellow, green, and blue—which Jung will not only incorporate into his typology but also include in image 169, and (c) Jung would later provide an extended commentary on the symbolism of Tantric Buddhism that closely parallels what he described above. The similarities between Jung’s paintings, especially image 169, and Eastern mandalas are striking, and because of these apparent similarities some mandalas will be further explored during the course of this dissertation. These parallels suggest that Jung drew liberally from the East for the development of his concepts. For instance, in a section in chapter five of Psychological Types, Jung (1921/1971) detailed the Brahmanic conception of the uniting symbol (CW6, para. 331); and one need not be reminded of Eastern parallels of Jung’s concept of the self (i.e., atman). Jung (1984) subsequently discussed a Tibetan mandala, which he described at length and further elaborated on the comparisons between his typological system and the four functions: I have brought you today the picture of which I spoke last week, the reproduction of the Tibetan mandala. It is a yantra, used for the purpose of concentration upon the most philosophical thought of the Tibetan Lamas. It shows in the innermost circle the diamond wedge or thunderbolt, that symbol of potential energy, and the white light symbolizing absolute truth. And here are the four functions, the four fields of colour, and then the four gates to the world. Then comes the gazelle

105 TREASURE HUNTING garden, and finally the ring of fire of desirousness outside. You will notice that it is embedded in the earth region exactly to the middle, with the upper part reaching to the celestial world. The figures above are three great teachers, the living Buddhas or Bodhisattvas, two yellow and one red. That has to do with the Tibetan Lamasitic doctrine. They correspond to mountains on the earth below. What the mountain is on earth the great teacher is among men. I have another mandala where, instead of a thunderbolt in the centre, there is a god Mahasukha, one form of the Indian god Shiva, in the embrace of his wife Shakti. (p. 479) The above passage demonstrates not only Jung’s interest in the East, but shows that he recognized definite parallels between the structure of Western mandalas and Eastern mandalas such as the Tibetan yantra. At this time, Jung had already written his commentary for Wilhelm’s The Secret of the Golden Flower, and his attention began to drift to other fields and disciplines (i.e., alchemy, Kundalini, Tibetan mysticism, etc.). In fact, in the same lecture Jung (1984) mentioned Wilhelm. “In the book that we published together, Wilhelm speaks of the ‘Terrace of Life’ ” (p. 465). What is most curious about the above passage is Jung’s recognition of the quaternity in the mandala comprised of four colors, which seems suggestive considering the four-rayed color burst in image 169. Image 169 could possibly represent Jung’s own yantra which encapsulates not only his individual cosmology but also the basic tenets of his psychology. The image is unique in that it breaks symmetry and seems to combine both Eastern and Western ideas, functioning like a conjunction of opposites, which produces the burst of energy depicted by the rainbow light.

106 TREASURE HUNTING Perhaps one of the most important and interesting bodies of literature is a series of lectures Jung gave at the Eidgenossische Technische Hochschule (Swiss Federal Institute of Technology) or the ETH for short. Barbara Hannah and Elizabeth Welsh recorded the lectures and transcribed them into an unauthorized multi-volume English version called Modern Psychology, which was circulated among an English-speaking audience. Hannah published eight of the 13 courses in three volumes as private prints in multiple editions, which consist of over 700 pages of material. These prints can be found in circulation on the internet and elsewhere. Princeton University Press with the assistance of The Philemon Foundation is scheduled to publish the lectures in eight volumes in 2017. In their totality, the ETH Lectures cover a range of topics to include the history of psychology, dream psychology, the unconscious, typology, alchemy, and the psychology of yoga and meditation. Although the ETH Lectures offer perhaps one of most thorough expositions of Jung’s psychology, volume three, which falls under the subheading of “The Process of Individuation,” seems most relevant to image 169. Volume three surveys Eastern religion and its psychological significance, and it is here that I located an extended commentary that seems to elucidate the content and meaning of image 169. In volume three, Jung provided a detailed synopsis of the Shri-ChakraSambhara Tantra Text, which was originally introduced and edited by Arthur Avalon (Sir John Woodroffe) (1919). The Tibetan Scholar Kazi Dawa-Samdup translated the work into English. This is noteworthy because Dawa-Samdup was also the translator of Walter Evans-Wentz’s (1927/2000) version of The Tibetan Book of the Dead, on which Jung wrote a commentary. Jung compared the Shri-Chakra-Sambhara Tantra to Western alchemy and identified on a number of parallels in Western literature and tradition to

107 TREASURE HUNTING include The Mithraic Liturgy, which Jung used as an anecdotal basis to advance his theory of the collective unconscious by comparing the delusional fantasies of a schizophrenic patients with a Mithraic ritual (Shamdasani, 2012, p. 53). Shamdasani (1996) has suggested that Eastern traditions such as yoga, provided Jung with a parallel to other Western systems like alchemy, and which could bolster his argument of a crosscultural archetypal substrate that accounted for the universality of human experience. Shamdasani (1996) observed that In his major works on Western religious traditions subsequent to his encounter with Kundalini yoga Jung presented his psychological interpretations of alchemy and Christianity. In these his studies on yoga served as a vital orientation, both in his mode of understanding the practices of the alchemists. (p. xlv) In lecture VII of volume three, Jung provided a historical and etymological overview of the Tantric text in accordance with his own hermeneutic understanding. Jung suggested that the Shri-Chakra-Sambhara Tantra translated to Holy Wheel Collected Text, however, this translation does not seem entirely accurate. In Tibetan Yoga and Secret Doctrines, Dawa-Samdup (Evans-Wentz, 1935/2000) translates the term Sambhara-Chakra as The Wheel of the All-Restrained (or Combined) (p. 205), which would render the actual title as The Holy Wheel of the All-Restrained (or All-Combined) Book. The Shri-Chakra-Sambhara Tantra is rooted in Tantric Buddhism (Vajrayana) and any understanding the text necessitates at least some familiarity with the principal ideas found in the Tantric tradition. Jung (1958) made this point clear in his lecture: “It is very difficult to understand but is exceedingly helpful in the task of understanding Western

108 TREASURE HUNTING parallels” (p. 42). Thus, I will stick with the salient points regarding how the ShriChakra-Sambhara Tantra may relate to image 169. The text consists of a series of sacred mantras, a collection of words or sounds that assist the adept in concentration, informed by Tantric doctrine and teachings. The rituals contained in the text principally involve the attainment of blissful enlightenment through a relationship with a personified deity (Heruka or Devata). The words Shri Chakra translate to “holy wheel” or alternatively “circle of bliss,” and in the context of the ritual constitute a circular mandala consisting of four gates. It is important to note that Jung’s journey to India concluded less than one year prior to these lectures—Jung returned from India on February 2, 1938 (Sengupta, 2013, p. xix)—and one could say that his interest in Eastern philosophy was primed by his observations from his travels. Yet, Jung (1996) was familiar with Avalon’s edition of the Shri-Chakra-Sambhara Tantra as early as 1930, for he owned a personal copy of Zimmer’s (1926/1984) Artistic Form and Yoga in the Sacred Images of India, wherein contained a lengthy exposition of the Shri-Chakra-Sambhara. In fact, Jung’s knowledge of the Shri-Chakra-Sambhara Tantra likely originated with his acquisition of Artistic Form and Yoga in the Sacred Images of India, which he probably read around January 1930. Furthermore, Jung’s library contains six volumes from Avalon’s Tantric Text series, which included the ShriChakra-Sambhara Tantra. Another important book that aptly supplements Jung’s psychological treatment of the East in the ETH Lectures is Mircea Eliade’s (1958/1969) Yoga: Immortality and Freedom. Jung owned a copy of this book as well. Eliade presented him with a signed copy in 1958 (Shamdasani, 2012, p. 205). Eliade provided an extensive description of

109 TREASURE HUNTING mandalas. The book is important to the dissertation topic in that it follows an historical approach as opposed to psychological one, and thus may offer an alternative viewpoint to Jung’s own position. Eliade dedicated an entire chapter to “Yoga and Tantrism,” and wrote that “Tantra would be ‘what extends knowledge’ ” (p. 200). Eliade further pointed out that tantrism is a broad system that has both philosophical and religious components. Tantric practices and methods can be found in both Hinduism and Buddhism. Eliade also discussed the rituals that Jung alluded to in The ETH Lectures. Although his description of the ritual is not attributed to a reading of the Shri-Chakra-Sambhara Tantra, it is very similar. The Psychology of Kundalini Yoga is yet another essential body of literature that provides additive value to the research question. The book consists of an introduction by Shamdasani and four lectures that Jung gave in 1932 on the subject of kundalini yoga. These lectures took place on October 12, 1932, October 19, 1932, October 26, 1932, and November 2, 1932. Shamdasani’s (1996) introduction to the seminar provides a detailed exposition of Jung’s intellectual engagement with Hinduism. Jung would go on to publish five principal writings that dealt with the Indian religion: “Yoga and the West” (1936), “The Psychology of Eastern Meditation” (1943/1969), “The Holy Men of India: An Introduction to Zimmer’s Der Wegzum Selbst” (1944), “The Dreamlike World of India” (1939), and “What India Can Teach us” (1939). The former and latter were written after his return from India. Elsewhere, Shamdasani (2009) suggested that this seminar represents a critical juncture in Jung’s comparative studies, which seems to have culminated in his ETH Lectures:

110 TREASURE HUNTING With his seminars on Kundalini Yoga in 1932, Jung commenced a comparative study of esoteric practices, focusing on the spiritual exercises of Ignatius of Loyola, Patanjali’s Yoga sutras, Buddhist meditational practices, and medieval alchemy; which he presented in an extensive series of lectures at the Swiss Federal Institute of Technology (ETH). (p. 220) The Kundalini Seminar was predicated on the collaboration between Jung and Jacob Wilhelm Hauer, a German Indologist, who gave his first lecture on yoga to the Psychological Club in Zurich on June 13, 1931 (Shamdasani, 1996, p. xxxv). Shamdasani indicated that Jung’s kundalini yoga seminar was not spontaneously improvised in response to the material presented in Hauer’s lecture. Jung had already lectured on Kundalini yoga and the symbolism of the chakras on October 11, 1930 and October 7, 1931, whereas Hauer’s primary lectures took place between October 3 and 8, 1932, well after Jung’s own. Thus, Jung’s interest in yoga and Eastern thought spans nearly his entire career as a psychologist. Jung (1961/1989) acknowledged practicing yoga as early as 1913 (p. 177). Furthermore, Jung (1921/1971) demonstrated his knowledge of yoga and Indian philosophy in his major publications of Symbols and Transformations (1912) Psychological Types (1921). In the former, Jung applied his libido theory to Indian symbols (Brahman, Lotus, etc.) and in the latter he discussed yoga in relation to his theory of types (CW6, para. 191). In an interesting twist of events, Hauer’s interests later shifted to social and political activism. Hauer had a formative role in the German Faith Movement, which attempted to import Indo-Aryan teachings with a Völkisch coloring into Germany in the 1930s. Although he was unsuccessful, Hauer petitioned the Third Reich to adopt his

111 TREASURE HUNTING movement as the official state religion of National Socialism. Furthermore, Jung (1936/1970) also alluded to the German Faith Movement in his essay “Wotan,” which was largely predicated on the idea of an archetypal force possessing the German people. Hauer’s associations and political stance toward National Socialism eventually put him at odds with Jung, which led to a cessation of relations. Hauer later grew critical of a number of Jung’s ideas, to include archetypes (Shamdasani, 1996, p. xlii). Hauer joined the Nazi party in 1937. After the war, Hauer lost his university position and was interned between 1945 and 1949. Hauer died on February 18, 1962, less than a year after Jung’s own death. It is important to note that Jung’s 1930 lecture entitled “Indian Parallels” dealt with the similarities between Western and Indian religious traditions. The “Indian Parallels” lecture can be found in appendix 1 of The Psychology of Kundalini Yoga. Jung suggested that tantrism, due to the wealth and diversity of its ideas, was ideally suited to objectively demonstrate the archetypal parallels in Western (e.g., alchemy) and Eastern ideas. Jung introduced tantrism as a broad system of religious ideas and practices that have had a formative influence on both Hindu and Buddhist traditions. In regards to the nuanced meaning of tantrism, Jung (1996) wrote the following: The parallels are above all found in Indian tantrism (tantra means book). Tantrism is a movement which sprang up at a time when medieval Buddhism was deeply mixed with Hindu elements; that is to say, when Hinayana-Buddhism (the small vehicle) foundered in India and developed into Mahayana-Buddhism (the great vehicle) in Mongolia. That period of Buddhism when the Mahayana branch split off is one of peculiar syncretism: Hinduism redressed Buddhism through the

112 TREASURE HUNTING practice of meditation in such a way that several intermediary forms were hardly recognizable as Buddhism any longer. The religious form of Shivaism contained mainly tantric ideas. The middle-Buddhist yoga practice divides into two trends: sadhana and vajrayana. (p. 72) “Indian Parallels” seems to represent the genesis of Jung’s forays into Buddhist tantrism based on his reading of the Shri-Chakra-Sambhara Tantra. Shamdasani indicated that Jung’s “Indian Parallels” lecture was largely based on the following manuscripts: a threepage handwritten manuscript headed “Tantrism,” a four-page handwritten manuscript headed “Avalon Serpent” consisting of references and quotations, a three-page handwritten manuscript titled “Chakras,” and a two-page typewritten manuscript titled “The Description of each Center Shat-chakra Nirupana.” Shamdasani also revealed that Jung had in his possession a two-page manuscript titled “Tantric Texts. VII, Shri-ChakraSambhara,” which he evidently used in preparation for his ETH Lectures on this text (1996, p. xxxv, n. 66). Jung (1996) explicitly mentioned the Shri-Chakra-Sambhara Tantra in lecture 1 (October 12, 1932) as a fundamental source for understanding the meaning of the mandala (p. 12). So at the very least Jung was familiar with the basis of tantrism as early as 1930. Jung also provided an illustrated lecture on October 7, 1932 on Tantra symbolism entitled “Western Parallels to Tantric Symbols”. As previously indicated, Jung visited India in 1937-1938 and stayed for six weeks (December 17, 1937-February 2, 1938). While in India, Jung fell ill with dysentery and was hospitalized for six days (Sengupta, 2013, p. 146). During his short illness Jung had a series of peculiar dreams which he described in Memories, Dreams, Reflections. Jung (1961/1989) dreamed that he was located on a remote island with a group of people off

113 TREASURE HUNTING the coast of southern England. On the island, he and the group of people encountered the castle of the Holy Grail. Jung also spotted a hooded gnome figure in the dream that he later identified as a veiled kabir, “scurrying from one little house to the next” (p. 281). Jung realized that the island was actually divided by a narrow channel of water and that the grail is located on the other side. Jung concluded that he must cross the channel to retrieve the Holy Grail and return it to its rightful place in the castle. Jung interpreted the dream to mean that his principal task was back home in the West where he was most needed. The principal reason that I am suggesting that The Psychology of Kundalini Yoga is relevant to the research topic is in that it throws a critical light on Jung’s early interest in the Indian religion and by extension Eastern religion as a whole. India and its religious legacy seem to have played an important role in Jung’s personal myth as he was studying Eastern philosophies and religions as early as 1910/1911 during his preparatory study for Symbols of Transformation. As indicated by an entry he made in his “Dreams” journal, Jung’s fascination with India seems to have started as early as 1913/1914 while struggling to make sense of his fantasies and visions. Jung intuitively felt that there was an unconscious link between Liber Novus and India (Shamdasani, 2009, p. 239, n. 93). In light of what I have presented above regarding the ETH Lectures, image 169 seems to contain Tantric symbolism, which was apparently further instigated by his relationship with Hauer and Zimmer. Shamdasani opined that Jung’s study of the Shri-ChakraSambhara-Tantra culminated with his lectures at the ETH where he presented the material in its most lucid form.

114 TREASURE HUNTING Among attendees of the Kundalini Yoga Seminars was Heinrich Zimmer (18901943), a German Indologist, whose studies and work not only had a formative influence on C. G. Jung, but a young Joseph Campbell. Zimmer’s (1926/1984) Artistic Form and Yoga in the Sacred Images of India, was instrumental to Jung’s understanding of the symbolic import of Indian religious and cultural traditions. Jung (1996) mentioned this work in his response to one of Hauer’s lectures on October 8, 1932 (p. 84) and had a copy in his personal library (Shamdasani, 2012, p. 162). The importance of this work in regards to Jung’s understanding of Eastern mandala symbolism cannot be overstated. This seems to be the principal book that paved the way for Jung’s psychological understanding of Indian and Buddhist tantrism, and likely informed his reading of ShriChakra-Sambhara-Tantra. One can clearly make a connection between Zimmer’s early exposition on the Shri-Chakra-Sambhara-Tantra and Jung’s commentary in the ETH Lectures. Although one cannot say for certain, Zimmer’s Artistic Form and Yoga in the Sacred Images of India seems to constitute the genesis of Jung’s exposure to the ShriChakra-Sambhara-Tantra, which as earlier indicated suggests a connection to image 169. It is interesting that although Jung mentioned Zimmer in his ETH Lectures, he does not attribute Artistic Form and Yoga in the Sacred Images of India as source material for psychological commentary on the Shri-chakra-sambhara Tantra and instead directly cites Avalon’s edition of the said work. A supplementary volume of Jung’s Collected Works deserves special mention. The Zofingia Lectures is unique in that it provides one of the earliest accounts of Jung’s ideas. Between November 1896 and January 1899, Jung was a member of the Zofingia fraternity at Basel University. During this timeframe, he gave several speeches to the

115 TREASURE HUNTING aforementioned group. These speeches contained one address and four lectures. The lectures offer a rare glimpse into Jung’s beliefs and ideas during a formative time in his intellectual development. The lectures also demonstrate just how learned and well-read Jung was, even at such a young age. Jung gave his first lecture in 1896 at the age of 21. In the lectures one can discern Jung’s nascent ideas taking shape in his psyche. During the course of the four lectures, Jung entertained and discussed a wide range of topics ranging from the epistemological limits of science to Christian hermeneutics. Even at this early stage in Jung’s life, the extent of his erudition is quite evident. Although his ideas had not yet come to age, Jung’s intuitive prowess are clearly demonstrated. For instance, In “The Border Zones of Exact Science” lecture, he was critical of the theoretical concept of ether (i.e., 19th century hypothetical medium of space) which at the time was a problematic concept in physics. To his audience Jung (1983) asked: “Is there really such a thing as an ether, do we have proofs of its existence?” (P. 11). Jung answered his own question by saying “There is no such thing as an ether. Yet its existence is a necessary postulate of reason” (p. 11). It is noteworthy that Jung (1983) did not mention the 1887 Michelson-Morley experiment, which took place nine years prior to the lecture. The experiment attempted to detect the so-called luminiferous ether by comparing the speed of light in perpendicular directions. Michelson and Morley reasoned that the ether would cause a variation in the speed of light when measured in each direction, however, they detected no notable difference in the speed of light regardless from what direction it was measured. The results of the experiment, and its subsequent versions, would eventually give rise to Einstein’s special theory of relativity. Simply put, the ether proved a superfluous concept

116 TREASURE HUNTING which was not consistent with the law of parsimony. Jung’s reservations about the ether hypothesis turned out to be right, however, he could have strengthened his argument if he had mentioned the experiment in his lecture. If he were familiar with the experiment, he would have likely cited it. Jungian analyst and scholar Joseph Cambray (2011) has echoed this point in his essay “Jung, Science, and his Legacy,” wherein he wrote: Reading the lecture for its scientific content quickly reveals its student qualities as many of the exciting developments of the previous several decades are not included. For example, he attacks belief in the theory of the ether without mention of the groundbreaking 1887 Michelson-Morley experiment, which was the first major demonstration against this theory and was recognized as such at the time. (p. 113) Thus, Jung’s omission of the experiment showcases the limitations of his knowledge at the time he gave the lecture. Jung (1983) further demonstrated his dilettantism by posing additional questions in regards to the existence of the ether: How can light be conducted through an absolute vacuum? How can an electrical spark travel from place to place without a conductor? And yet all these phenomena do take place. Light travels immeasurable distances through the great vacuum between the stars to get here, and lightning streaks out of the clouds to the earth. (p. 12) That Jung conflated the propagation of light through space with the electrostatic atmospheric phenomenon known as lightning, demonstrates a tendency of misattributing scientific concepts. While reading Jung’s lecture, one senses that his notes were largely

117 TREASURE HUNTING derived from conversations between his fraternity brothers in the coffee houses of Basel, as well as his interest in the ideas of Zöllner and Crookes. Furthermore, Jung made a number of unfounded assumptions as a result of his limited knowledge. One could say that his intuition was guiding him in the right direction but was not tempered with the empirical findings of the day. Thus, it is not difficult to see where Jung’s ideas were heading. Accordingly, Jung’s first essay is highly critical of positivistic science and he stressed its limitations. This same critical position will later appear in Liber Novus, and in many ways will shape Jung’s avant-garde thought for years to come. In another essay, “Some Thoughts on Psychology,” which in my view is equally important for what it relates about Jung’s early thinking, Jung’s neo-Kantian influences take center stage. Jung quoted from Kant’s Critique of Practical Reason in the first paragraph. Jung dedicated a good deal of the lecture to Kant, which intimates the philosopher’s influence in the formation of Jung’s later ideas to include archetypes and the collective unconscious. Jung (1983) also turned to Kantian ideas when he described the soul as being independent of space and time. The concepts of space and time are categories of the understanding and for this reason are not compelling with regard to the Ding an sich. The soul eludes all sense perception and thus cannot constitute any form of material force. (CW Supp. Vol. A, para. 98, p. 32) There are a number of other insightful essays and papers in the Jungian canon that could further elucidate the research topic and in this way the foregoing sketch hardly constitutes an exhaustive list of Jung’s own psychological publications. However, for the purposes of throwing light on the research problem and advancing the thesis of this dissertation, what

118 TREASURE HUNTING I have listed constitutes, I think, an adequate start point. What follows comprises a list of secondary psychological sources that directly support the research effort. Secondary psychological sources. In 2008, on the eve of the publication of Liber Novus, Shamdasani published a short paper in the Jungian journal Quadrant entitled “The Boundless Expanse.” The paper covers Jung’s reflections on life after death. Although the paper makes no mention of image 169, it is pertinent to this study in that it throws light on Jung’s position on a controversial topic. In the paper, Shamdasani reviewed the history of the development of Jung’s ideas pertaining to life after death. Shamdasani pointed out that Jung’s ideas originated in the cultural and scientific milieu of late 19th century Europe, where such figures as Frederic Myers, Zöllner, Crookes, and Wallace attempted to put into empirical terms the possibility of a post-mortem existence. Shamdasani wrote that Jung told Aniela Jaffé in 1957 that his thoughts on life after death were the background to his works and were thoughts “fundamentally nothing other than an ever renewed attempt to give an answer to question of the interplay of ‘this side’ and the beyond” (Jung as cited in Shamdasani, 2008, p. 14). Shamdasani wrote that Jung marked the beginning of his interest in life after death when his father appeared to him in a dream shortly after his death in 1896. Shamdasani (2008) suggested that this event and others “fueled his interest in spiritualism, which was then sweeping across Europe and America” (p. 14). Shamdasani also pointed out that Jung’s thinking was preoccupied with the idea of the immortality of the soul as early as 1897, when he first postulated the soul’s independence of space time and by extension its relative eternal existence (Jung, 1983, para. 98-99). Jung’s resolve to answer the dead seems to have culminated with his writing of “The

119 TREASURE HUNTING Seven Sermons to the Dead,” which, according to Shamdasani “shed important light on what could be termed Jung’s theology of the dead” (2008, p. 18). Shamdasani wrote of a series of strange events that occurred at the Jung family residence in January 1916. Jung (1961/1989) recounted this event in his autobiography: Around five o’clock in the afternoon on Sunday the front doorbell began ringing frantically. It was a bright summer day; the two maids were in the kitchen, from which the open square outside the front door could be seen. Everyone immediately looked to see who was there, but there was no one in sight. I was sitting near the doorbell, and not only heard it but saw it moving. We all simply stared at one another. The atmosphere was thick, believe me! Then I knew that something had to happen. The whole house was filled as if there were a crowd present, crammed full of spirits. They were packed deep right up to the door, and the air was so thick it was scarcely possible to breathe. As for myself, I was all aquiver with the question: “For God’s sake, what in the world is this?” Then they cried out in chorus, “We have come back from Jerusalem where we found not what we sought.” That is the beginning of the Septem Sermones. Then it began to flow out of me, and in the course of three evenings the thing was written. As soon as I took up the pen, the whole ghostly assemblage evaporated. The room quieted and the atmosphere cleared. The haunting was over. (pp. 190-191) Jung seems to have interpreted his encounter with a ghostly procession in his house at Kusnacht in 1916 as the precursor to his mission to provide answers to the dead. Jung’s encounter with what could only be characterized as a parapsychological event, would lead to Jung creating his own elaborate psychocosmology, which I alluded to earlier.

120 TREASURE HUNTING These contentions seem consistent with Jung’s subsequent opinion regarding these events: From that time on, the dead have become ever more distinct for me as the voices of the Unanswered, Unresolved, and Unredeemed; for since the questions and demands which my destiny required of me did not come to me from outside, they must have come from the inner world. These conversations with the dead formed a kind of prelude to what I had to communicate to the world about the unconscious: a kind of pattern of order and interpretation of its general contents. (pp. 191-192) Shamdasani (2008) also wrote “It seemed that the dead only knew what they knew when they died” (p. 19). Shamdasani added that “It seemed to him [Jung] that personal development did not stop at death, but was dependent upon the increase of consciousness among the living. Spiritualistic literature indicated that the dead really sought psychological insight” (p. 19). In his autobiography, Jung posited the reason the dead relied on the living for knowledge and answers was because the dead could no longer synthesize knowledge to the degree that the living could. It seems that Jung recognized that the development of consciousness had significant ramifications not only to the present, but also to the past and future, which one could accept without having to venture into needless metaphysical speculation. Shamdasani subsequently turned to the history of Jung’s thought on the matter and identified 1929 as an important year in the development of his thinking. From 1929 onwards, a few years after the death of his mother, Jung began to broach this question in public writings. In his Commentary to the Secret of the

121 TREASURE HUNTING Golden Flower, Jung noted that as a physician he attempted to “strengthen the conviction of immortality,” especially with older patients. (p. 20) As previously discussed, Jung received Wilhelm’s The Secret of the Golden Flower manuscript in 1928, which Shamdasani (2011) identified as the event that marked the end of his work on Liber Novus (p. ix). Shamdasani (2008) later suggested that synchronicity is, among other things, Jung’s attempt to provide a scientific basis for post-death survival (p. 21). One of the most interesting passages in the entire paper is Shamdasani’s citing of a conversation between Jung and the psychologist E. A. Bennet, who often spoke to Jung in his late years. Unfortunately there are segments lost from the transcript, however the extant record indicates that Jung said the following to Bennet: I am absolutely convinced of personal survival, but I do not know how long it persists. . . . I get this idea from dreams. My personal experiences are absolutely convincing of survival . . . I am absolutely convinced of the survival of the personality. (Bennet as cited by Shamdasani, 2008, p. 23) At the end of the paper, Shamdasani took up the central question “who are the dead, and what does it mean to answer them?” (p. 25). Jung suggested that people could only find their myth if they were together with their dead—the ancestors. It is not clear whether Jung was referring solely to biological ancestors or spiritual ones as well. Another thing that one should consider is to what degree, if any, Jung was drifting into metaphysics with his pronouncements. Whatever the case, it seems that for Jung a person could only become oneself if he or she could relate to both the external circumstances of their life and their interior images. This relationship would extend to the past people,

122 TREASURE HUNTING come and gone, on whose legacy we have built our personal myth. In some paradoxical way, there seems to be a relationship between one’s ancestors and one’s personal myth. In this way, one’s ancestry could be viewed as the archetypal units on which each of us perch just as an island owes its existence to the tectonic plates on which it rests. Jung (1912/1967) echoed this idea in his The Collected Works: The psyche is not of today; its ancestry goes back many millions of years. Individual consciousness is only the flower and the fruit of a season, sprung from the perennial rhizome beneath the earth; and it would find itself in better accord with the truth if it took the existence of the rhizome into its calculations. For the root matter is the mother of all things. (CW5, p. xxiv) At the end of the paper, Shamdasani does not draw any conclusions, but leaves these questions wide open. In any case, Shamdasani succinctly outlined Jung’s views on the socalled “afterlife,” and the formative events that influenced his thinking on the topic. Jung’s volumes of letters constitute an invaluable literary resource for any study on C. G. Jung and/or the genesis of his ideas. The two volume set spans October 5, 1906 to March 10, 1961, and is replete with astute commentary regarding all facets of life, science, culture, and Jung’s own professional relationships. Jung’s volumes of letters and various essays and literature in his Collected Works also address philosophical and psychological issues concerning the dead, which I will use to explore and amplify image 169. Another interesting book from a psychological perspective is Aniela Jaffé’s (1957/1979) Apparitions: An Archetypal Approach to Death Dreams and Ghosts. In the book, Jaffé surveyed the archetypal patterns found in a collection of 1,200 letters that

123 TREASURE HUNTING were published in the Swiss periodical Beobachter between 1954 and 1955. The letters and stories do not prove the existence of ghosts but demonstrate the ubiquitous presence of such stories, which Jung would view as a psychic fact. What is essential about such phenomena is not their veracity, but their psychic universality in our stories and myths. Even I have encountered what I interpreted as a ghost, but beyond what I experienced (i.e., a group of radiant semi-transparent human outlines), I cannot account for their physical reality, but, as I apprehended the experience through my psyche, I can say the experience was psychically real. On this point, Jaffé opined “The fact that something is experienced semper ubique, always and everywhere, need not be regarded as objective proof of the experience reported, but it might well be regarded as proof of the psychological significance of this type of experience” (p. 12). Jaffé suggested that what is important about such experiences are that they have a definite archetypal pattern. Jaffé added “that they are, from the psychological standpoint, archetypal, i.e., they recur always and everywhere and are part of the general experience of mankind” (p. 13). She proceeded to amplify the material using Jung’s constructive method. Ultimately, her aim was hermeneutic. The book and its subject matter, though highly speculative, seem to throw an archetypal light on certain aspects of Jung’s confrontation with the unconscious, his interest in the occult, and potentially add context to image 169. The book is important because it concerns the universal experience of anomalous phenomena that contemporary science hitherto has not, in my opinion, addressed adequately. Jaffé made a number of interesting psychological observations in the book, one of which pertains to what she calls “partial souls.” She opined that at death, these “partial souls” (i.e., splinter psyches) may, in some inexplicable way, come together to form a unity.

124 TREASURE HUNTING From a psychological standpoint the union with beloved or related souls at the moment of death connotes a merging of partial souls. It is an image of the soul achieving wholeness—as if death were completing what had already begun decades before. No rule can be laid down, yet fairly frequent observations show that man attains the fulfillment of his personality, his wholeness only at the end of his life or at the hour of death. (p. 50) If nothing else, the work provides ample material to draw helpful comparisons with the imagery Jung opted to incorporate into image 169. The book is also interesting in that Jung wrote its forward. As indicated the book was published in 1957 as Jung was nearing the end of his long life. Another helpful book regarding the more arcane aspects of Jung’s psychology, is Jung on Synchronicity and the Paranormal, which is edited and introduced by Roderick Main (1997). The book is part of the Encountering Jung Series. Main selected some of the most important letters, essays, and excerpts from Jung’s work regarding synchronicity and the paranormal. In his introduction, Main covered the development of Jung’s thinking and theories regarding the occult starting with Jung’s childhood and ending with his late thoughts on the topic. The work serves as an accessible quick reference for the material that can support and enhance the research effort. Because so much of Liber Novus material seems to have stemmed from his original encounter with spiritualism in the 1890s, one could say that the development of his method of active imagination was a direct consequence of a felt need to develop a means for the average person to connect with his unconscious. Main’s selection clearly shows to just what degree analytical

125 TREASURE HUNTING psychology was intended as an interdisciplinary project that could explore the connections between different field and disciplines (e.g., physics and psychology). Two papers provide a basic overview of the origins and meanings of Jung’s first mandala, Systema Munditotius. These papers are important in that their author, Barry Jeromson, provided historical and mythological context to properly situate the said mandala, which is discussed in Appendix C of Liber Novus. As previously suggested, Systema Munditotius seems to visually express Jung’s psychocosmology as of 1916. Jeromson (2006) entitled his first paper on the topic “Systema Munditotius and Seven Sermons: Symbolic Collaborators with the Dead.” He suggested that Systema Munditotius was a result of his experiment with his waking fantasies between 1913 and 1916 and that during the said time period Jung “sought to rebuild his personal myth and work out the structure and dynamics of his own system of analytical psychology” (p. 6). Jeromson also described the various features of the mandalas, which consist of concentric hierarchies representing both the inner psychic and outer physical world. He opined that Systema Munditotius “is best described as Jung’s psychocosmology” (p. 6). In this paper, Jeromson also associated “The Seven Sermons to the Dead” to the Systema Munditotius, which seems to express in pictorial terms what “The Seven Sermons to the Dead” suggests in a poetic one. The paper also discusses and elaborates the symbols contained within the mandala, which include Abraxas, Eros, the Tree of Life, Phanes, and the Pleroma, to name just a few. At the center is an eight-pronged star (i.e., ogdoad), which appears multiple times in the paintings of Liber Novus. A similar image can also be found in image 169.

126 TREASURE HUNTING Jeromson’s (2007) second paper in the series is titled “The Sources of Systema Munditotius: Mandala, Myths and a Misinterpretation,” which provides an overview of the genesis of Jung’s first mandala and takes a closer look at the connection between Systema Munditotius and “The Seven Sermons to the Dead.” Jeromson pointed out that as early as the 1890s, Jung was exploring circular symbolism. For instance, in the Zofingia Lectures, Jung (1983) entertained the idea of the existence of an infinite number of worlds all relating to one another in concentric circles (CW Supp. Vol. A, para. 197). At this stage in his career however these theoretical worlds were principally informed by Jung’s neo-Kantianism. Jeromson highlighted the early references to mandala like structures in Jung’s (1902/1970) work to include the “power system” associated with his somnambulist cousin Helene Preiswerk (CW1, para. 71). Jeromson also rightly attributed Goethe’s influence to Jung’s conception of his first mandala. Goethe’s Faust is rife with alchemical symbols such as quadrated concentric spheres. Jung went so far as to use a passage from Faust to describe what the mandala actually is: “Formation, Transformation, Eternal Mind’s eternal recreation” (Goethe as cited in Jung, p. 196, 1961/1989). The reason that I have reviewed these papers is that there seems to be a connection between Jung’s first mandala and image 169, of which I will further discuss in the dissertation. Color symbolism in Jung’s psychology. As discussed earlier in the paper, color symbolism seems to have a direct bearing on addressing the research topic. Jung inscribed a note in the marginalia of page 169 of the calligraphic volume, which coincides with the color schema of the four-rayed color burst in image 169. This could mean little more than Jung’s personal style of note taking;

127 TREASURE HUNTING however, it is a curious inscription. The color scheme seems to indicate that Jung purposefully arranged the colors in such a sequence—red, yellow, green, and blue. Thus, I have opted to dedicate a section to bodies of literature, particularly in The Collected Works, that are relevant to the described color scheme and Jung’s tendency to prescribe meaning to colors. In Charles A. Riley’s Color Codes, the author presented the history and meaning of colors in multiple contexts, ranging from philosophy to psychology. In chapter six, Riley (1995) examined Jung’s use of color in his psychology and wrote “The process is clearly one of reading a symbolic language, and the colors are cyphers” (p. 307). Riley also partially cited the following passage from Jung’s (1950/1968a) essay “A Study in the Process of Individuation.” 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 orienting functions of consciousness, of which at least one is unconscious and therefore not available for conscious use. (CW9i, para. 582) In the same passage, Jung further suggested that green symbolizes sensation. Riley pointed out that in footnote 130 in Volume 9i of the Collected Works, Jung again indicated that green has been statistically correlated with the sensation function (p. 332, n. 130). Jung made a similar distinction in footnote 134 (p. 335). Elsewhere, Jung provided the following correlation: “red means blood and affectivity, the physiological reaction that joins spirit to body, and blue means the spiritual process (mind or nous)” (para. 555); and that gold “expresses sunlight, value, divinity even” (para. 543). Riley

128 TREASURE HUNTING underscored another indicator of Jung’s color schema by citing Jung’s (1950/1968b essay “Concerning Mandala Symbolism”: 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. (CW9i, para. 696) Riley was critical of Jung for attempting to artificially create a one-size-fits-all chromatic schema that applies to all people and all cultures. Riley further suggested that “For Jung, the complete tetralogy (and by extension the rainbow) is the figure for the imagination as a source of both corporeal and mental life” (p. 308). Riley (1995) assessed Jung’s system as contrived, and opined that Jung’s passion for deciphering color codes was influenced from his intense interest in alchemy as a system that could be properly understood through universal symbols or archetypes. Riley further suggested that Jung “found in alchemy the ideal prior analogy for what he hoped to accomplish” (p. 309). In this way, Riley felt that Jung’s impetus to universalize experiences into discrete patterns carried over to colors as well. Riley proceeded to aptly summarize his point: What does this all have to do with color? There is a color key to alchemy. Jung appropriates it as a code for the interpretation of his patients’ dreams and mandalas and makes a powerful case for considering it in universal terms. (p. 309) In the end, Riley remained tentative on Jung’s color symbolism, although he is quite clear about the reservations that I have heretofore alluded to.

129 TREASURE HUNTING Jung referred to the color schema throughout his work. Beyond the references already cited above, Jung wrote extensively on the color tetrad throughout his work. A cursory review of Jung’s extended corpus would show over a dozen references to the color scheme mentioned: Liber Novus (2009, p. 162, n. 117; CW9i, para. 630; CW11, paras. 120, 128, 281; CW12, paras. 212, 220, 262, 286; CW14, paras. 390-391, not to mention the color scheme Jung (2009) employed in his Systema Munditotius, which seems to parallel the color tetrad. Furthermore, the four colored motif can be found in a mandala (Picture 19) painted by one of Jung’s patients, which is a principal topic in his essay “A Study in the Process of Individuation.” The image is dated August 1930 (CW9i, p. 348, para. 617, n. 172). Commentary for the said image can be found in paragraph 615. Jung’s students and followers also elaborated on the color scheme. For instance, Jolande Jacobi (1942/1973) explicitly equated the four primary colors with the four functions of consciousness in her book The Psychology of C. G. Jung, whose forward was authored by Jung himself. In a footnote, she suggested that as a rule for the psychology of the European, blue, the colour of the empty air, of the clear sky, is the colour of thought; yellow, the colour of the sun which brings the light of the unfathomable darkness and vanishes again into darkness, is that of intuition, the function which, as though by sudden illumination, apprehends the origins and tendencies of things; red, the colour of the throbbing blood and of fire, is that of the burning , surging emotions while green, the colour of earthly, tangible, directly perceptive vegetation, represents the function of sensation. (pp. 97-98, n. 2)

130 TREASURE HUNTING C. A. Meier (1995/2012) further articulated an equivalent color schema regarding the functions. Just a word here about the choice of colors allocated to the various functions: blue, for thinking, corresponds to the coolness of the thinking world; red, for feeling, is the color of warmth, like our blood; green, for sensation, is the predominant color in our world, and thus stands for the fonction du réel. Yellow, for intuition, is rather awkward, like the function itself. When our analysands pick up pencils or crayons to express their experiences, it turns out that our color classification is virtually a standard one; this, however, needs to be confirmed statistically by larger numbers. Jung also managed to support his arguments with ethnological material from all over the world, thus giving them an amazingly objective universality. (Kindle Locations 1170-1175) The same color scheme can be found elsewhere. For instance, Islamic scholar Seyyed Hossein Nasr (1988) listed the colors as meaningful in Shi’a Islam: In the system of four colors, four as number, and as square in geometry, reflects the conceptual configuration of Universal soul manifested as the active qualities of nature (hot, cold, wet, dry) and the passive qualities of matter (fire, water, air, earth). The quadrants of the day, the quarters of the moon, the four seasons, and the four divisions of man’s temporal life are secondary reflections of this system. In vision, the primary colors are red, yellow, green, and blue. (p. 333) Lastly, it is curious that as early as 1929 with the publication of his commentary on The Secret of the Golden Flower, Jung alluded to a four-fold color scheme. However, the colors that he described are not red, yellow, green, and blue, but black, white, yellow

131 TREASURE HUNTING (brownish), and red which seem to parallel the colors of the four alchemical stages— nigredo, albedo, citrinitas, and rubedo—rather than a typological one (1957/1967, CW13, para. 220, n. 108). Regarding the alchemical work, Jung pointed out that the process originally consisted of four stages mentioned above. During the 15th or 16th centuries, citrinitas (i.e., xanthosis) was omitted (1944/1968, CW12, para. 333). In this way, the number of alchemical stages is subject to interpretation and usually varies between three and four. In Jung’s analysis of The Secret of the Golden Flower, he included one of his own mandalas, which happens to be one that he originally painted into Liber Novus, image 105. Jung (1957/1967) provided the following commentary on the image in The Secret of the Golden Flower: In the centre, the white light, shining in the firmament; in the first circle, protoplasmic life-seeds; in the second, rotating cosmic principles which contain the four primary colours [italics added]; in the third and fourth, creative forces working inward and outward. At the cardinal points, the masculine and feminine souls, both again divided into light and dark. (CW13, p. A6) Jung (1950/1968b) made additional comments regarding the image in his 1950 essay “Concerning Mandala Symbolism,” wherein he wrote: Picture by a middle-aged man. In the center 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 dark female figure. Together they indicate four aspects of the personality, or four

132 TREASURE HUNTING archetypal figures belonging, 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 sometimes destructive) Luciferian element. In alchemy it is Hermes Trismegistus versus Mercurius, the evasive “trickster.” The circle enclosing the sky contains structures or organisms that look like protozoa. The sixteen globes painted in four colors [italics added] just outside the circle derived originally from an eye motif and therefore stand for the observing and discriminating consciousness. (CW9i, para. 28) During Jung’s second commentary of the same painting, he refrained from calling them primary colors. John Irwin (1994) has suggested that at some point in his career, Jung’s preferred color tetrad changed. As we noted earlier, one form that the quaternity symbol takes in alchemy is the four colors linked to the stages of alchemical work—black, white, yellow, and red. But Jung points out that there is another quaternity of colors associated with the marriage of the king and queen of heaven—yellow, red, green, and blue. Yellow or “gold, the royal colour, is attributed to God the Father; red to God the Son, because he shed his blood; and to the Holy Ghost green,” the color of renewal (PA, 212-213); while “blue is the colour of Mary’s celestial cloak; she is the earth covered by the blue tent of the sky” (PR, 71) (p. 68). Although it admittedly sounds vague and generally hard to pin down, this clue seems helpful at gauging what Jung was attempting to describe in psychological terms with the

133 TREASURE HUNTING four colors in image 169, which at this early stage suggest his typology. Furthermore, due to the fact that the dissertation topic is a painting with some mandala-like qualities, the essays “Concerning Mandala Symbolism” and “A Study in the Process of Individuation” are invaluable resources to draw from because of their amplifying material.

Religious perspectives. Religious literature, with its emphasis on mythological and psychological symbolism, also seems a fertile area to explore the research topic. Religion has traditionally served as the chief aegis on matters concerning the afterlife and the status of the post-mortem soul. Thus, I will survey various religious and theological traditions, both Western and Eastern, to amplify archetypal material regarding the key themes and motifs apparently articulated in image 169. Because Liber Novus is steeped in JudeoChristian mythology with a Gnostic coloration, I will focus the research on these religious traditions to include Gnosticism. Furthermore, I will explore some strains of Eastern religion to include Taoist alchemy and Tibetan Buddhism whose bardo states share some uncanny similarities with the Gnostic notion of the Pleroma. I will also critically review The Tibetan Book of the Dead (1927/2009), which Jung himself studied at length and commented extensively on. Another useful cross-cultural resource is Alexandra David-Neel’s (1929/1971) book The Magic and Mystery in Tibet which focuses on various esoteric practices and beliefs in Tibetan Buddhism. The book has some accessible descriptions and observations in regards to the bardo state and other Buddhist practices in Tibetan culture. Jung was familiar with David-Neel as well as her

134 TREASURE HUNTING books on Tibetan mysticism and culture and he cited her several times in his ETH Lectures. Eastern religion. Although it is categorized as a Taoist treatise on Chinese alchemy, I have decided to review The Secret of the Golden Flower under the heading of religion. Richard Wilhelm’s (1957/1967) translation of this book seems of paramount importance to the development of Jung’s ideas. In his autobiography, Jung (1961/1989) wrote of the manuscript: The text gave me an undreamed-of confirmation of my ideas about the mandala and the circumambulation of the center. This was the first event which broke through my isolation. I became aware of an affinity; I could establish ties with someone and something. (p. 197) Jung noted how his acquisition of Wilhelm’s original manuscript meaningfully coincided with a painting he created in 1928: “When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousandyear-old text of the golden castle, the embryo of the immortal body” (2009, p. 163). Jung wrote a commentary on the aforementioned work for the 1929 publication. In this commentary, Jung appended three of his own mandalas that he painted in Liber Novus. The following images can be found in the commentary: image 105 (Mandala), image 159 (Liverpool dream), image 163 (golden castle painting). On October 28, 1929, Jung (1973) wrote to an ailing Wilhelm communicating his intention to include his own mandalas in the commentary:

135 TREASURE HUNTING As for the mandala I would like the publisher to see, none of the numerous mandalas in my possession gets anywhere near the perfection of the Tibetan mandala, because the one lays more stress on this idea and another on another. Consequently I have picked out a series of mandalas that represent the various modulations of the central ideas. Shortly I will send the photographs to the publisher and hope he will reproduce them all. (p. 71) Wilhelm died on March 1, 1930. Jung’s acquisition of The Secret of the Golden Flower manuscript, Wilhelm’s untimely death, and, if it were indeed created in 1930, the creation of image 169, all seem complementary to one another, and in my view synchronistic. As evidenced by Jung’s account of his last conversation with Wilhelm in The Protocols, there was an uneasiness about not being able to complete his work: Whereupon I went to Frankfurt to see him, and found him in the hospital with leukemia. Then I knew that he was lost. He said to me: “You know, everything is all wrong. If I get over this sickness, I will come to Zurich, to you. (n.d., p. 24) Needless to say, Wilhelm never made it to Zurich. Jung (1957/1966) publicly introduced his term synchronicity in his memorial speech for Wilhelm in May 1930. “The science of the I Ching is based not on the causality principle but on one which—hitherto unnamed because not familiar to us—I have tentatively called the synchronistic principle” (CW15, para. 81). As documented in his Dream Analysis Seminar, Jung (1984) explicitly mentioned the term for the first time on December 4, 1929 (p. 417) and made an indirect reference to the phenomenon, calling it synchronism as early as November 28, 1928 (p. 44).

136 TREASURE HUNTING Jung was also familiar with The Tibetan Book of the Dead and referenced it as early as his Dream Analysis Seminar that I have discussed above. The American writer and scholar, Walter Evans-Wentz (1878-1965) published his translated version in 1927, roughly a year before Jung received Wilhelm’s The Secret of the Golden Flower manuscript. Thus, the late 1920s could be viewed as a period of major literary and cultural activity. Evans-Wentz commissioned a man named Kazi Dawa-Samdup, who I mentioned earlier, to translate The Tibetan Book of the Dead. Incidentally, Kazi DawaSamdup was also the translator for the abovementioned Belgian-French author Alexandra David-Neel (1929/1971), who spent a lengthy period of time traveling and living in Tibet (p. 1). In his introduction to a recent edition of The Tibetan Book of the Dead, John Baldock (2013) indicated that Evans-Wentz interpreted the basic message of The Tibetan Book of the Dead as the “ ‘the Art of Dying is quite as important as the Art of Living (or of Coming to Birth), of which it is the complement and summation’ ” (1927/2013, Kindle Locations 119-121). Thus, the Tibetan Book of the Dead could also be viewed as an instruction manual for the dead. In his commentary on the book, Jung (1935/1969) wrote: This cult of the dead is rationally based on the belief in the supra-temporality of the soul, but its irrational basis is to be found in the psychological need of the living to do something for the departed. This is an elementary need which forces itself upon even the most “enlightened” individuals when faced by the death of relatives and friends. (CW11, para. 855) One of principal ideas of the text is the bardo states, three stages, which Lama Kazi Dawa-Samdup translated as “ ‘between two’ or ‘intermediate’ and refers to the

137 TREASURE HUNTING intermediate state or bardo between life and rebirth” (1927/2009, Kindle Locations 123124). Jung (1935/1969) further elaborated on these bardo states in his commentary on the text: Continuing our ascent backwards through the region of the Chönyid Bardo, we come finally to the vision of the Four Great Ones: the green Amogha-Siddhi, the red Amitabha, the yellow Ratna-Sambhava, and the white Vajra-Sattva. The ascent ends with the effulgent blue light of the Dharmadhatu, the Buddha-body, which glows in the midst of the mandala from the heart of Vairochana. (CW11, para. 852) Thus, The Tibetan Book of the Dead served as an instruction manual for the deceased person that has both ritualistic and practical qualities. Baldock (2013) further underscored this point: “It was to this end that the text of The Tibetan Book of the Dead was read aloud to the dying or recently deceased so that one could attain enlightenment and thus be liberated from the suffering associated with the endless cycle of death and rebirth” (Kindle Locations 161-163). In this way, the psychological import of the text cannot be understated, which Jung apparently understood. Number and color symbolism merit further discussion in the context of The Tibetan Book of the Dead. The text describes four colors: “O nobly-born, on this the Sixth Day, the four colours of the primal states of the four elements [water, earth, fire, air] will shine upon thee simultaneously” (1927/2009, Kindle Locations 641-642). Four colors are correlated to the four elements, which is an idea also found in Western literary and mythological texts. Jung (1935/1969) commented on the Tibetan color scheme:

138 TREASURE HUNTING It gradually becomes clearer that all these deities are organized into mandalas, or circles, containing a cross of the four colours. The colours are co-ordinated with the four aspects of wisdom: (1) White = the light-path of the mirror-like wisdom; (2) Yellow = the light-path of the wisdom of equality; (3) Red = the light-path of the discriminative wisdom; (4) Green = the light-path of the all-performing wisdom. (CW11, para. 850) Of course, the Tibetan color schema is not a one-for-one translation for Jung’s typological color schema that I have already described at length. Furthermore, it is important to point out that if one revisits The Tibetan Book of the Dead, the text vacillates between four and five wisdoms, whereas Jung only identified four colors and four respective wisdoms, which may account for his own preference for quaternities. Although the book does refer to four wisdoms, it lists five colors that corresponds to different qualities of “wisdom”: 1) “blue in colour, emitting rays, the Dharmadhatu Wisdom” (1927/2009, Kindle location 670); 2) “the white [italics added] light-path of the Mirrorlike Wisdom” (1927/2009, Kindle location 674); 3) “the yellow [italics added] light-path of the wisdom of Equality” (1927/2009, Kindle location 676); 4) “From the heart of Amitabha, the transparent, bright red [italics added] light-path of the Discriminating Wisdom;” and 5) “The green [italics added] light-path of the Wisdom of Perfected Actions” (1927/2009, Kindle location 687). I will return to this point while reviewing another body of literature (Lauf) dealing with The Tibetan Book of the Dead. The reason that The Tibetan Book of the Dead and its corollary ideas are relevant is because Shamdasani (2013) contended that one of the key parts of Liber Novus, “The

139 TREASURE HUNTING Seven Sermons to the Dead,” could be viewed as a pedagogical guide for a recently deceased person. There’s an idea in Jung that his psychology is not just for the living, it’s for the dead. It’s no accident that the Sermons in 1916 are teaching instructions to the dead. This is what the dead require. And he says quite explicitly at a number of junctures that his psychology, his work, was an attempt to answer the unresolved questions of the dead. The questions that were posed to him and that he took up. (p. 184) Given Shamdasani’s observations, one can reasonably understand how Jung was drawn to it, especially after already having studied The Secret of the Golden Flower, which seemed to mark a major milestone in his career. Another useful body of literature is Secret Doctrines of the Tibetan Book of the Dead. The book is authored by Tibetologist Detlef Ingo Lauf (1977), who provided a comprehensive overview of Tibetan Buddhism and some of its more arcane practices. According to Lauf, The Tibetan Book of the Dead deals with the events of death and the experiences to be expected on the other side, which take place between total liberation and renewed incarnation. But all this, in spite of Buddhist psychology’s considerable experience of the paranormal, can be conveyed in the texts of the Tibetan Books of the Dead so convincingly only because their doctrines are always oriented towards the reality of earthly life. Only that which can be the genuine experiential content of consciousness, is used in the Tibetan Book of the Dead to portray the contents of the bardo that transcend consciousness. (p. x)

140 TREASURE HUNTING In this way, Lauf approached the text in experiential and psychological terms, which is tremendously helpful at elucidating the psychological dimension in light of Jung’s impetus to find cross-cultural parallels of The Tibetan Book of the Dead. Elsewhere, Lauf indicated that The Tibetan Book of the Dead, in addition to its religious and philosophical content, is a thoroughly psychological work intended for a better understanding of and as a guide to psychic phenomena which are portrayed as after-death experiences and yet are actually images of psychic process of daily life. (p. 213) Lauf seems to have echoed Jung’s (1935/1969) position on the said text: “The Bardo Thödol is in the highest degree psychological in its outlook” (CW11, para. 834). Lauf was well-versed with Jung’s interpretation of The Tibetan Book of the Dead, and while discussing the general basic thought of Buddhist psychology he frequently turned to Jung’s commentary. Lauf further cited Jungian concepts and ideas (e.g., archetypes, synchronicity, transcendent function) as useful ways to engage with the psychic material (p. 235). The book also explains in detail the numerical and color symbolism that I referenced earlier. It is important to underscore the fact that the book contains a progression of number symbols ranging from trinities to five-fold systems. Although the number four appears, its importance is relative only to its relationship to other numerical expressions. Lauf pointed out that there are several four-fold number configurations found in the text. An interesting four-fold parallel is the vajra, or diamond scepter. According to Lauf, the vajra and its corollary doctrine of Vajrayana

141 TREASURE HUNTING constitute a synoptic essence of these Vajrayana teaching which form a rounded inner structure of the Buddhist religion, of Yoga, and of psychology, which were synthesized in the Tibetan Book of the Dead into a beautiful and harmonious cosmic-visionary world of all aspects of human awareness. (p. 59) The diamond symbolism evokes the image of the lapis in alchemy, which would figure prominently in Jung’s late works, in particular his magnum opus Mysterium Coniunctionis. Lauf added that doctrine of the diamond scepter “forms the basis of the symbolism of Tibetan Buddhist cosmology and the mandalas” (p. 59). Lauf described the four deities known as the four Guardians. These deities guard four gates, which are associated with the four cardinal directions which Jung (1984) compared to his four functions of consciousness (p. 467). Another compelling feature of the guardian deities is the fact that they form syzygies (i.e., masculine-feminine pairs), not unlike the four figures Jung (2009) depicted in his famous Red Book mandala (p. 107). Lastly, it is important to note that the weltanschauung associated with Tibetan Buddhism contains five elements as opposed to the typical four found in more contemporary strains of Western literature. Like Plato’s idea of a fifth essence or element, Tibetan Buddhism also views ether as the fifth element, which is typically associated with the center. This psychological quintessence could be correlated to what Jung (1958) described in his ETH Lectures as the Vijnana skandha, which he interpreted as a fifth function of consciousness, one of total cognition. Another body of religious literature that throws considerable light onto Eastern and Buddhist ideas is Tibetan Yoga and Secret Doctrines. The book was first published in 1935 and was originally intended to finalize Evans-Wentz trilogy, which also consisted

142 TREASURE HUNTING of The Tibetan Book of the Dead (1927/2000) and Tibet’s Great Yogi Milarepa (1928/2000). However, Evans-Wentz would go on to publish a fourth book The Tibetan Book of the Great Liberation (1954/2000). Whereas the other principal books are dedicated to a translation and exposition of one text, Tibetan Yoga and Secret Doctrines comprises translations of seven texts from the Tibetan canon. Like its predecessors, the book was translated by Dawa-Samdup in collaboration with Evans-Wentz. The seven texts cover a wide-range of tantric practices and doctrines, ranging from “The Supreme Path of Discipleship to “The Path of Transcendental Wisdom.” Given Jung’s reading of Tantric texts like the Shri-Chakra-Sambhara Tantra, and the latter’s apparent connection to the content and meaning in image 169, this body of literature can shed light on the meaning of the ‘Shri He-ru-ka Aham’ mantra and other practices and doctrines in Vajrayana Buddhism. It deserves mention that there is a chapter entitled “The Path of the Five Wisdoms: The Yoga of the Long Hum,” in Tibetan Yoga and Secret Doctrines that provides a detailed exposition on the hum syllable in accordance with the said mantra, which Jung (1958) suggested was the source of the four multi-colored rays of light (p. 52). According to Tibetologist Donald S. Lopez (2000) “the mantra hum is one of the most prevalent and potent in tantric Buddhism” (p. M). Lopez’s description parallels Jung’s own reading of the Shri-Chakra-Sambhara Tantra: “In many tantric meditations, infinite hums are emanated from the heart to fill the universe and are then gathered back into a single hum in the meditators’ heart” (p. N). Thus, Tibetan Yoga and Secret Doctrines contains a wealth of primary sources to draw from regarding the meaning of Tantric Buddhism and other esoteric practices.

143 TREASURE HUNTING In a late essay on Eastern religion, “The Psychology of Eastern Meditation” Jung (1943/1969) presented perhaps one of his most clear and precise expositions of Eastern religion. The essay was originally presented as a lecture to the Swiss Society of Friends of East Asian Culture in Zurich, Basel, and Bern between March and May 1943. In the essay, Jung provided a clear and succinct outline of Eastern Religion with an emphasis on Hinduism and Buddhism. It is also clear that Jung used Zimmer’s work as a principal source for the essay. In fact, in the opening sentence Jung alluded to Zimmer’s Artistic Form and Yoga in the Sacred Images of India. Jung also underscored how Eastern religion’s approach to soul appears “strange and inaccessible” to the Western mind (CW11, para. 908). Jung conceded that whereas the Western mind is principally concerned with work and progress (i.e., doing), the Indian’s focus is being for the sake of impassive being. Elsewhere in the essay, Jung turned to the idea of the five Dhyāni-Buddhas or Dhyāni-Bodhisattvas and focused his attention to one of the five: Amitabha. Jung contended that Amitabha, “the Buddha of the setting sun of immeasurable light,” is the protector of the world’s present period (para. 912). Jung pointed out the cult of Amitabha coincides with a “kind of Eucharistic feast with consecrated bread,” (para. 912) which has clear Christian parallels. Jung proceeded to tell story found in the Amitayur-dhyana Sutra, about a queen named Yaidehi who is imprisoned by her prince son. The queen prays to the Buddha who answers her prayers by appearing to her. The Buddha reveals to her a vision of the ten worlds, which correspond to the eight lateral directions of the compass, the zenith, and nadir. The vision prompts the queen to choose one of the ten worlds to be reborn in. After choosing Amitabha, the western realm, the Buddha instructs

144 TREASURE HUNTING her in the yoga required to attain such a rebirth. In his instructions, the Buddha stresses the importance of forming the image of water. Jung pointed out that “Amitabha is also a dispenser of the water of mortality” (para. 916). The Buddha adds: “When you have thus seen the water you should form the perception of ice. As you see the ice shining and transparent, so you should imagine the appearance of lapis lazuli” (para. 917). The text also indicates “the blue stone is transparent” which according to Jung “informs us that the gaze of the meditator can penetrate into the depths of the psyche’s secrets” (para. 938). After the Buddha completes his instructions, she becomes enlightened and resigns herself to her pending fate. It is also interesting that Yaidehi’s vision culminates with the appearance of the lapis lazuli or blue stone, which is similarly found in the Judeo-Christian tradition and Western alchemy. “There they saw the God of Israel. Under his feet there seemed to be a surface of brilliant blue lapis lazuli, as clear as the sky itself” (Exodus 24:10). Given Jung’s (1958) extended commentary on the parallels between Western alchemy and Eastern symbolism in the ETH Lectures, he seems to be trying to bolster his hypothesis of the collective unconscious by presenting the peculiar similarities between Eastern and Western symbols. Throughout the essay, Jung wove in alchemical symbols and parallels, suggesting that his ultimate aim is a psychological synthesis of Buddhist and Western traditions. Jung’s (1961/1989) impetus to draw parallels between the East and the West can further be demonstrated by the fact that during his trip to India he took with him the Theatrum Chemicum, which contains the alchemical writings of Gerhard Dorn (p. 275). The principal reason I have included a brief review of this essay is because it seems to

145 TREASURE HUNTING supplement material in the Shri-Chakra-Sambhara Tantra, and by extension may shed light on the meaning of image 169. There are three other bodies of literature that throw a great deal of light on the similarities between Jung’s psychology and Eastern modes of thought and two of them practically share the same name. In Coward’s (1985) Jung and Eastern thought, the author assessed the impact of the East on Jung’s ideas and psychology. The book aspires to show how certain Eastern religious ideas, ranging from Taoism to Buddhism, influenced and shaped Jung’s thinking. Another book, similarly named, is J. J. Clarke’s (1994) more recent Jung and Eastern Thought: A Dialogue with the Orient which surveys how and where Eastern ideas found their way into Jung’s work. Clarke reviewed Jung’s commentaries on the I Ching and The Tibetan Book of the Dead, as well as examining what Jung specifically said about them. Clarke also took up a lengthy discussion regarding Jung’s fascination with the symbolism of the mandala and its Eastern parallels. For instance, in one passage of the book, Clarke (1994) wrote: Then comes a kind of temple or monastery courtyard which “signifies sacred seclusion and concentration”. Here Jung identifies, symbolically, the various psychic functions—thinking, feeling, sensation and intuition—which go to make up the conscious life of the individual. And finally at the centre of the mandala there is a further circle in which sits a figure, usually of the Buddha, sometimes of Shiva in embrace with his consort Shakti, and which represents the state of timeless spiritual perfection. (CW9i. 630-1) (p. 138) Both books are relevant in examining the research question through exploring image 169 through a non-Western lens.

146 TREASURE HUNTING One other work regarding the cross-fertilization of Eastern ideas into Jung’s psychology is The Essence of Jung’s Psychology and Tibetan Buddhism. The author Radmila Moacanin (1986/2003) aspired to draw parallels and point out similarities and differences, between Jung’s psychology and Tibetan Buddhism. The book provides a useful bridge between analytical psychology and Tibetan Buddhism, however, covers little new scholarly territory. Although it provides some useful introductory information regarding parallels between Jungian thought and Buddhist ideas, a cursory review indicates that it lacks true depth, which is greatly needed when the research topic is the relationship between Jung’s ideas and one single painting that practically no one knows anything about. However, because it does provide some clear archetypal parallels and comparisons, I have decided to review it. Western religion. One cannot deny that the Christian stream of ideas informed Jung’s personal myth and by extension Liber Novus, which begins with a series of passages from the Bible. Most notably, Jung turned to verses from the book of Isaiah (53: 1-4, 9:6). The Book of Isaiah is a prophetic work, and the fact that Jung chose to cite it suggests that he viewed Liber Novus as a similar kind of work. The book of Isaiah deals mostly with the themes of an eventual restoration of the kingdom of God and the coming of a Messiah, which many interpret as Jesus Christ. Shamdasani (2009) also noted the prophetic tone of Liber Novus: “Jung titled the first book “The Way of What is to Come,” and placed beneath this title some citations from the book of Isaiah and from the gospel according to John. Thus it was presented as a prophetic work” (p. 203). Beyond references to Isaiah, Liber

147 TREASURE HUNTING Novus is riddled with biblical references and allusions, although Jung also liberally pulled from non-Christian sources (e.g., Hellenism, Eastern philosophy, etc.) in the text. A number of fantasy-figures are also derived from the Western Judeo-Christian tradition, to include Elijah and Salome. Philemon, who admittedly has certain pagan overtones and originated from a story in Ovid’s Metamorphosis (Book 8), is eventually identified as the first century Gnostic leader Simon Magus (Jung, 2009, p. 359). Gnosticism was an early strain of Christianity that would eventually die out. Christ himself appears at the end of Scrutinies in the form of a “blue shade” (2009, p. 316, p. 359). Because Jung’s experience has all of the basic features of a katabasis, he seems to have psychologically emulated Christ’s descent into hell—referenced as Hades in the Bible (Matthew 11:23, Luke 10:15, Acts 2:27). As previously discussed, Christian doctrine refers to Christ’s descent to Hell or Hades as his “Harrowing of Hell,” and teaches that while Christ was in Hell for three days, he preached to the dead and redeemed his progenitor, Adam. The said motif has its origins in the ancient world, Egypt (e.g., Osiris), and elsewhere. In Liber Novus, however, Jung turned to two other prominent descent stories that are inspired from mythological and religious traditions. Both stories seem to parallel Jung’s own adventures in the underworld in Liber Novus. The first story deals with Odysseus who Jung seems to use as a prototypical model for his own adventures in the underworld. The second story is Dante’s Inferno, which deals in large measure with similar themes, but viewed through a medieval Christian lens. I will eventually discuss the former and latter figures at length.

148 TREASURE HUNTING Christ’s descent to the underworld suggests a sort of night sea journey, not at all different from other stories (e.g., Jonah and the whale) found in the biblical tradition. Jung (1946/1966) often alluded to the same motif: “The night sea journey is a kind of descensus ad inferos—a descent into Hades and a journey to the land of ghosts somewhere beyond this world, beyond consciousness, hence an immersion in the unconscious” (CW16, para. 455). Elsewhere, Jung (1938/1969) wrote that The three days’ descent into hell during death describes the sinking of the vanished value into the unconscious, where, by conquering the power of darkness, it establishes a new order, and then rises up to heaven again, that is, attains supreme clarity of consciousness. The fact that only a few people see the Risen One means that no small difficulties stand in the way of finding and recognizing the transformed value. (CW11, para. 149) Viewed through an alchemical lens, Christ’s descent into hell could be viewed as the nigredo phase of the alchemical work. Christ initially burrows into the chthonic earth like a serpent (i.e., serpent-soul) and subsequently ascends into the spiritual heights like a bird (i.e., bird-soul). In the former case we are viewing a calcinatio of the instincts whereas the latter could be viewed as a sublimatio. In alchemical terms, calcinatio deals with the element of fire. Sublimatio, on the other hand, deals with element of air. Christ is purified in the fiery bowels of hell where he reconciles the opposites prior to ascending to the boundless Empyrean (i.e., upper realms) beyond. The sublimatio could also be viewed as a release of the Holy Spirit. In fact, Christ’s life is often seen as a peregrination through the principal alchemical operations at different junctures of his life: Baptism (solutio), Entombment (coagulatio), Descent to Hell (calcinatio), and Ascension (sublimatio).

149 TREASURE HUNTING Given the aforementioned alchemical connotations, Christ’s descent and subsequent ascension suggest a conjunction of opposites. The symbolism could not be any starker. Shamdasani (2010) intimated the alchemical overtones elsewhere: “Notice that Christ did not remain in hell, but rose to the heights in the beyond. In Jung’s understanding, Christ’s journey to hell was necessary. Without this he would not have been able to ascend to heaven” (p. 14). Artistic and aesthetic perspectives. One cannot adequately explore the research problem without discussing Liber Novus through an artistic and aesthetic lens. Where Jung’s work has largely been downplayed by the post-modern scientific community, it has flourished within the humanities and the arts. People also often forget that Jung himself was a talented artist, whose artistic acumen is evident by his paintings found in Liber Novus and elsewhere. It is important to note that in one of the volumes of Jung’s Collected Works, Spirit in Man, Art, and Literature (CW15), he principally examined how the archetypal spirit expresses itself in literature and the visual arts. Jung’s willingness to explore art for its symbolic and psychological value is further exemplified through his essay “Picasso.” In another essay in the same edition, Jung (1922/1966) opined that “art represents the process of self-regulation in the life of nations and epochs” (CW15, para. 131). Thus, Jung seems to have appreciated art for its merits on a collective level but beyond what it does to promote the psychic health of the individual, he remains ambivalent in regards to its value. His attitude toward art is further evinced in a letter to Esther Harding dated July 8, 1947, Jung (1973) admitted a prejudicial attitude toward modern art: “I am only

150 TREASURE HUNTING prejudiced against all forms of modern art. It is mostly morbid and evil on top of that” (p. 469). As early as his childhood, Jung (1961/1989) was drawn to the old paintings that hung on the walls of his family’s 18th-century parsonage home in Klein-Huningen (p. 16). One of the paintings was Guido Reni’s “David and Goliath,” which depicts, of all things, David posing with the decapitated head of Goliath. During his childhood, He also frequently visited the Basel art museum. Shamdasani (2009) indicated that Jung was particularly drawn to the paintings of Holbein and Bocklin, as well as other Dutch painters (p. 196). Jung himself took up the hobby of painting toward the end of his university studies and while spending an academic semester abroad in Paris, he painted two paintings that depicted various landscapes (Jaffé, 1979, p. 43). In October of 1910, Jung visited Ravenna, Italy, with his colleague Hans Schmid, who was instrumental at assisting Jung develop his theory of psychological types. At Ravenna, Jung and Schmid viewed frescos and mosaics that, according to Shamdasani (2009), made a deep impression on him (p. 203). Shamdasani (2009) suggested that one can discern a clear influence of these works on Jung’s own paintings: “the use of strong colors, mosaic-like forms, and two-dimensional figures without the use of perspective” (p. 203). Jung returned to Ravenna in 1913 where in the midst of a “mild blue light” he had a hypnagogic vision of four mosaic frescoes that were apparently hallucinations. Jung (1961/1989) described this event in Memories, Dreams, Reflections (p. 284). While visiting America in March 1913, Jung likely visited the Armory Art Show in New York, where he would have been exposed to a wide-range of art styles (Shamdasani, 2009, p. 203).

151 TREASURE HUNTING During Jung’s confrontation with the unconscious, he resisted the idea that what he was doing had anything to do with art. While recording his fantasies, Jung (1961/1989) heard an inner feminine voice that said: “That is art” (p. 186) Jung recognized the voice as one of his former patients, Maria Moltzer, and strongly reacted to her assertion that what he was doing was art. Despite Jung’s obvious talent and interest in art, he responded to the voice as follows: “No, it is not art! On the contrary, it is nature” (p. 186). Previously, Moltzer had written to Jung suggesting that “the fantasies stemming from the unconscious had artistic value and should be considered art” (p. 195). Jung later associated the voice with his anima—his inner soul-image. Jung’s anima had assumed the imago of Maria Moltzer, who Jung indicated had a strong transference on him (p. 185). Jung seems to have taken an ambivalent attitude towards art in his Red Book material and rejected his anima’s assertion that what he was doing was art. Jung would later incorporate these observations into his theory of types. In Psychological Types, Jung (1921/1971) dedicated a chapter to “The Type Problem in Aesthetics,” in which he examined the aesthetic attitude through his theory of types. Jung reduced aesthetics to psychology and suggests that the notion of aesthetics corresponds to a particular psychological attitude. A fundamental problem like the contrast between introversion and extraversion could not long escape the attention of the aesthetician, because the way in which art and beauty are sensed by different individuals differs so widely that one could not fail to be struck by it. (CW6, para. 485) Elsewhere, Jung suggested that modern art could best be understood from the point of view of introverted sensation, a subjective form of perception (para. 647). Jung

152 TREASURE HUNTING (1989/2012) seems to have made a similar observation in his 1925 Seminar: “Modern art, then, began first by depreciating these external values, by dissolving the object, and then sought the basic thing, the internal image back of the object—the eidolon” (p. 61). Thus, it seems then that Jung was attempting to relativize art and science to a third point of view, psychic reality, which would constitute the common denominator of both the former and the latter. In Jung’s view, the psyche was sine qua non of both art and science. In this way, Jung seems to have tried to psychologize art by reducing it to a product of the psyche. Whatever the case, Jung displays a range of viewpoints regarding art in The Collected Works that could at best be characterized as ambivalence, as evidenced by the foregoing passage from “The Aims of Psychotherapy”: Although my patients occasionally produce artistically beautiful things that might very well be shown in modern “art” exhibitions, I nevertheless treat them as completely worthless when judged by the canons of real art. As a matter of fact, it is essential that they should be considered worthless, otherwise my patients might imagine themselves to be artists, and the whole point of the exercise would be missed. It is not a question of art at all—or rather, it should not be a question of art—but of something more and other than mere art, namely the living effect upon the patient himself. The meaning of individual life, whose importance from the social standpoint is negligible, stands here at its highest, and for its sake the patient struggles to give form, however crude and childish, to the inexpressible. (1931/1966, CW16, para. 104) One could say that Jung viewed himself first and foremost as a servant of the psyche. Everything else, to include art, was secondary. Jung (1961/1989) wrote: “It was then that

153 TREASURE HUNTING I dedicated myself to service of the psyche. I loved it and hated it, but it was my greatest wealth” (p. 192). For many of the reasons listed above, Sylvester Wojtkowski (2011) attributed Jung’s ambivalence towards art to an “art complex,” which is the title of his paper. Wojtkowski suggested that “Jung psychologizes the artistic process with confidence and objectivity” (p. 7). In the paper, Wojtkowski also examined instances of Jung’s childhood experiences with art and makes a strong case that these events contributed to him developing an art complex: “In these early manifestations of Jung’s attitude toward art we can see the germs of his future conviction that nature, art and beauty go together, and that moral judgment is separate from the appreciation of art” (p. 12). Although Wojtkowski has presented a compelling argument, it does not seem that Jung had an art complex, per se. Rather, one could say that Jung sought to explain all outward phenomena, to include art, through the lens of psychic reality. Thus, it may be more accurate to say that Jung’s ambivalent attitude toward art was a result of his typology rather than an art complex. His reaction to his anima seemed to characterize his conflict with his inferior function (i.e., feeling), which his anima carried. Jung’s privileging of science was consistent with his preferred function, which was likely thinking. So it makes sense that Jung would undervalue art. Image 169: According to Shamdasani (2009), Jung’s library contains some books on modern art to include “a catalogue of the graphic works of Odilon Redon (1814-1916), as well as a study of him” (p. 203). Redon was a French symbolist painter, whose work Jung would have likely encountered while studying abroad in Paris. Shamdasani

154 TREASURE HUNTING suggested “Strong echoes of the symbolist movement appear in the paintings in Liber Novus” (p. 203). Redon’s art work is impressive and has a rather surreal quality. Furthermore, Redon’s paintings contain mythological and religious themes, which suggest a certain archetypal symbolism that would have likely drawn Jung’s attention. Jung’s possession of Redon is meaningful because, as Shamdasani has indicated, some of Jung’s paintings suggest a symbolist influence. For instance, a face (Figure 6) depicted in image 169 seems to bear an uncanny resemblance to a figure Redon depicts in

Figure 6. Unidentified figure in image 169 (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

his painting “The Distributor of Crowns” (Figure 7). In many paintings, Redon also depicts disembodied heads and skulls. Similar artistic themes are present in image 169 as well. (All of Redon’s paintings can be viewed at the following website: http://www.odilon-redon.org/).

Mythological and literary perspectives.

In this section, I have opted to combine what I view as mythological and literary Figure 7. The Distributor of Crowns (Redon, 1882). Public domain.

sources because literature tends to possess a certain quasimythological dimension. In a mythological and literary sense, the

following historical and archetypal figures could be viewed as the forerunners of Jung’s visionary experience: Osiris, Orpheus, Odysseus, Dante, Swedenborg, Blake, Goethe, and Nietzsche, all of whom Jung alluded to in Liber Novus. One could say that these figures had a significant influence on Jung’s Red Book material. To be clear, other literary, mythic, and philosophical figures influenced Jung, however, a careful study of Liber

155 TREASURE HUNTING Novus, suggests that the aforementioned individuals were the ones that principally influenced Jung’s Red Book material. For instance, Osiris and Orpheus provided Jung with mythological antecedents. It also should be noted that Jung studied Orphic mythology and the Osiris myth while writing Symbols of Transformation. Jung (2009) also mentioned Osiris as a precursor to Christ in Liber Novus (p. 272). The structure of Jung’s psychic landscape parallels Dante’s although Jung does not use Christian theology as its basis, but rather an amalgam of historical, mythological, and religious ideas. The literary structure and style of Liber Novus closely follows Nietzsche’s Thus Spoke Zarathustra, even to the point where Jung acknowledged Nietzsche as a prophet of his time (p. 293). Shamdasani (2012) pointed out that Jung was familiar with Blake’s work, and Jung discussed the latter in Psychological Types and reproduced his prints in Psychology and Alchemy (p. 120). As evidenced by his work, Blake was a visionary writer, whose knack for combining word and image seems to have influenced Jung’s experimental style and form in Liber Novus. Lastly, it is difficult to deny the extent by which Swedenborg influenced Jung’s thinking. As early as the mid-1890s, Jung (1961/1989) had read all seven volumes of Swedenborg (p. 99). Needless to say, Jung reserved a special place in his heart and mind for Goethe whose Faust played a prominent role in Jung’s personal myth and the development of his ideas. Like Nietzsche, Jung (1961/1989) viewed Goethe as a prophet (p. 60). For the sake of brevity, I will limit my overview to Odysseus, Dante, Swedenborg, Goethe, and Nietzsche because of the role they played at influencing Jung’s initial fantasies and by extension the development of his personal myth. Obviously, Odysseus is a mythic figure rather than a person of flesh and blood and that is why it

156 TREASURE HUNTING seems necessary to combine literary sources with myth. This is an interdisciplinary project and the story of Odysseus, as recounted by Homer, has both literary and mythological components. It is also important to add that the aforementioned figures and persons all had their own confrontation with the unconscious to some degree. Similarly, although they all could be viewed as authors in their own right, Dante, Swedenborg, and Nietzsche share a kind of mythos that revolves around their personalities. In this way, I have decided to discuss all three persons and their relevant work in both a mythological and literary context. Although Nietzsche’s ideas are philosophically accentuated, my main focus here is the impact of Nietzsche’s life and works not only on Jung but on the zeitgeist in which he belonged. A similar rule applies to Dante, whose principal work The Divine Comedy could be viewed as a literary source (i.e., poetry) rather than as a philosophical treatise. Thus, because this study is interdisciplinary, it becomes abundantly clear that the abovementioned areas of discourse subsume different fields and disciplines. Myth played a central role in the creation of Liber Novus because of the way it informed the writing and Jung’s psyche during a critical time in his life, as I will explain. One could say that Jung’s long and arduous task of creating a new interdisciplinary science—analytical psychology—had four major phases, which can be traced to three of his most important works. As previously suggested, Symbols of Transformation could be viewed as an extensive survey of cross-cultural myths. The Black Books and the creative process of what would eventually produce the Liber Novus could be viewed as Jung’s experiential phase. Jung’s publication of Psychological Types in 1921 could be viewed as his attempt to operationalize his myth into concepts; and lastly, Jung’s survey of alchemy

157 TREASURE HUNTING could be viewed as a clear articulation and amplification of the individuation process because of the striking symbolic parallels he discovered in alchemy One could say that Jung’s immersion into myth primed his psyche in a way that made him more susceptible to the unconscious. During his preparatory reading for Symbols of Transformation, Jung (1912/1967) was surveying myth using what he termed directed thinking (CW5, para. 17). However, around December 1913 he tried something different while confronting his fantasy-images and making notes in his Black Books. He, so to speak, let his fantasies drive his train, which could be viewed as non-directed thinking. In 1925, Jung (1989/2012) commented on the quality of the experience: “It seemed to me I was living in an insane asylum of my own making. I went about with all these fantastic figures: centaurs, nymphs, satyrs, gods and goddesses, as though they were patients and I was analyzing them” (p. 34). What is most relevant about Symbols of Transformation is that it marked the prelude to his confrontation with the unconscious, and as I have suggested primed his imagination in a way that made him more susceptible to the fantasy-images he would later encounter. Of course, this is only tangential to the relationship between Jung’s personal myth, individual cosmology, and image 169; however, a better understanding of how he arrived at this watershed event may throw much needed light on the research problem. Odysseus. As indicated, Odysseus is more of a myth than a historical figure, and he represents the quintessential sea-faring voyager. In the popular zeitgeist, the term odyssey is colloquially associated with a sequence of arduous adventures or wanderings, especially when they are punctuated by notable experiences and hardships. One could

158 TREASURE HUNTING view the fable as a literary prototype for Jung’s principle of individuation. Jung mentioned The Odyssey in Symbols of Transformation several times. Given the scope of his confrontation with the unconscious and his literary treatment of the experience as a series of adventures, it is not difficult to understand Jung’s affinity for The Odyssey. As early as May 1897, Jung (1983) referenced Odysseus in his work, as well as an allusion to Book 11 of The Odyssey. “Ever since my last paper narrowly escaped sudden death in the wastebasket, I, ‘Glad from Death, have been wanting to have a chance to walk with you along the Stygian banks to the realm of the shades’ ” (p. 23). Odysseus also played an important role in Liber Novus. In fact, during one of his early fantasies in Liber Primus, dated December 21, 1913, Jung (2009) caught a brief glimpse of Odysseus and his journey on the high seas in the reflection of a stone (p. 245). Jung also understood the parallels between his own journey and the archetypal precedence set by Homer to such a degree that he compared his “wanderings” in the Liber Primus and Liber Secundus with the wanderings of Odysseus (p. 247). Jung commented on Odysseus in Appendix B of Liber Novus, stating: “I became an Odysseus on an adventurous journey, which concludes with the aging man's return to Penelope, the motherly woman” (p. 367). According to Staude (1981), in early 1913 Albert Oeri read the Odyssey to Jung and a group of friends during four-day cruise on Lake Zurich. Oeri read the Nekyia episode (Book 11) where Odysseus invokes the dead from Hades or what he calls Erebus (p. 50). However, the date provided by Staude seems dubious because, according to Shamdasani (2009), Jaffé identified the year of the sailing trip as 1910 (p. 304, n. 223).

159 TREASURE HUNTING Around 1910, Jung went on a sailing trip with his friends Albert Oeri and Andreas Vischer, during which Oeri read aloud the chapters from the Odyssey dealing with Circe and the Nekyia. Jung noted that shortly after this, he “like Odysseus, was presented by fate with a Nekyia, the descent into the dark Hades.” (Jung, 1962/1988, p. 104) Staude (1981) further suggested the following connection: Jung compared his own Nekyia with Odysseus’s visit to the realm of the dead. Here he encountered a fund of unconscious images similar to those shades from Hades. This is not surprising for this fund of unconscious imagery is also the matrix of the mythopoeic imagination. Though this imagination is present in everyone and in cultures all over the world, it is tabooed and dreaded. (p. 57) In his biography on Jung, Wehr (1987) cited the following passage as the one Oeri read to Jung during the sailing excursion: The vessel came to the bounds of eddying Oceanus, where lie the land and the city of the Cimmerians, covered with mist and cloud. Never does the resplendent sun look on those people with his beams, either when he climbs toward the stars of heaven nor when once more he comes earthwards from the sky; dismal night over hangs these wretches always. Arriving there, we beached the vessel, took out the sheep and then walked onwards beside the stream of Ocean until we came to the [rock and the confluence of the rivers of the dead] that Circe had told us of, [and there we sacrificed as she had prescribed]. (Homer as cited by Wehr, p. 175) In Book 11 of the Odyssey, from which the abovementioned passage is taken, Odysseus’ primary aim is to consult Teiresias—a blind prophet from Thebes—in Hades. As a

160 TREASURE HUNTING prerequisite for such a task, Odysseus has to dig a pit two feet by two feet in diameter. Odysseus proceeds to pour milk and honey, wine, and white barley meal as an offering to the dead. Odysseus then sacrifices a flock of sheep by cutting their throats and letting their blood pour into the dank pit. This act invokes the dead, who, as Homer tells it, swarmed out of Erebus (i.e., Hades). “Then the souls of the dead came thronging up from Erebus” (1960, p. 174). Teiresias subsequently counsels Odysseus on the future. Interestingly, Odysseus spots his mother among the horde of the dead and asks Teiresias why she does not recognize him. Teiresias replies as follows: “The answer is easy. Whoever of these the long-lost dead that you allow to drink of the blood will speak the truth to you, but those of whom you refuse will have to go back again” (1960, p. 178). Odysseus observed that his mother does not remember him. Jung (1912/1967) cited this very scene while describing what “life in the underworld” is like (CW5, para. 634, n. 26). Elsewhere, he referred to the abovementioned story in psychological terms: Another variation of the motif of the Hero and the Dragon is the Katabasis, the Descent into the Cave, the Nekyia. You remember in the Odyssey where Ulysses descends ad inferos to consult Tiresias, the seer. This motif of the Nekyia is found everywhere in antiquity and practically all over the world. It expresses the psychological mechanism of introversion of the conscious mind into the deeper layers of the unconscious psyche. From these layers derive the contents of an impersonal, mythological character, in other words, the archetypes, and I call them therefore the impersonal or collective unconscious. (1935/1976, CW18, para. 80)

161 TREASURE HUNTING It is curious that so much depends on blood, which in this context is meant to be taken psychologically, referring to the animating power of life. Jung (1912/1967) underscored this point in relation to The Odyssey while discussing the idea of sacrifice in Symbols of Transformation: It seems to follow from this that the bull’s life—its blood—is offered to the snake, that it is a sacrificial offering to the powers of the underworld, like the blood drunk by the shades in the nekyia of Odysseus. (CW5, para. 671) While discussing Liber Novus, Shamdasani similarly suggested (Hillman & Shamdasani, 2013) that It takes blood. That’s what it takes. The work is Jung’s “Book of the Dead.” His descent into the underworld, in which there’s an attempt to find the way of relating to the dead. He comes to the realization that unless we come to terms with the dead we simply cannot live, and that our life is dependent on finding answers to the unanswered questions. (p. 1) Shamdasani further suggested that “We think we’re posing the questions but we’re not. The dead are animating us” (p. 1). Given the obvious influence The Odyssey had on Jung, it is important to mention that when asked about his thoughts on image 169, Andreas Jung, submitted the following: In my article in JAP 2011 “The Grandfather” the picture “The Dead” was my second to last one. As I wrote there I had the idea to see in that picture the Dead listening to Philemon during his Sermons. And he tells them to be aware of one owns “Star”, that this star would be our final goal. And by means of the colored

162 TREASURE HUNTING rays the “Golden Flower” or the “Star” or the “Philosopher’s Stone” feeds the crowd. And this reminds me of Odysseus in Hades, where he prepares blood of some sheep to feed the dead: “the dark blood flowed […] round the pit from every side the crowd thronged” (Odyssey XI, 36-42). And of course the Red Book is result of Jung’s own descent in the underworld. (personal communication, November 12, 2014) Thus, Odysseus’ encounter with his own dead should be viewed as a forerunner, if not a parallel, to Jung’s confrontation with the land of the dead, or, in psychological terms, the unconscious. An interesting looking face depicted in image 169 bears a striking resemblance to other historical representations of Odysseus. The major clue is the pileus that the figure wears (Figure 8). Jung described a pileus as a pointed hat that is sometimes referred to as a “Phrygian cap.” The pileus was often associated with craftsman and sailors. Jung connected the headgear with the Cabiri, of whom Jung (1912/1967) wrote “they too wear the queer little pointed hat, the pileus, which is peculiar to these mysterious gods and was thenceforward perpetuated as a secret mark of identification” (CW5, para. 183). The popular gnome statues that stand guard in people’s gardens also wear the same kind of pileus. In fact, these figures are related to the Cabiri. Jung was well aware of the relationship between Odysseus and his frequent

Figure 8. Likeness of Odysseus (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

depiction with a pileus. In fact, one of the illustrations in Symbols of Transformation

163 TREASURE HUNTING (CW5, fig. 13, p. 128) shows Odysseus as a Cabiri wearing a pileus. Other mythological and historical antecedents of a pileus-clad Odysseus abound in literature. Thus, one could make a strong case that Jung intended the pileus-clad figure shown in image 169 to represent Odysseus. Suggestive as it may be, one should approach this interpretation cum grano salis, for other mythological figures (e.g., Hephaestus, Daedelus, and Charon) were depicted wearing a pileus. Dante. Writing on the significance of Jung’s first book, Psychology of the Unconscious, which would later be renamed Symbols of Transformation, van der Post (1975) observed that It is not surprising therefore that his gigantic Dante-esque journey had begun by a pursuit of the fantasies of an American lady with the totally unmythical name of Miss Miller, whose own conscious self was ultimately lost in the floodwaters of an invasion from her own unconscious. Yet, following the apparently dubious trail of this Miss Miller into an underworld of her own, he entered a labyrinth of mythology and history and came to write that very book, Psychology of the Unconscious, which had caused Freud and his followers finally to break with him. (p. 161) One could say that Laurens van der Post’s reference to Dante in relation to Jung’s confrontation with the unconscious is apropos. Dante Alighieri (1265-1321) begins his epic poem with the following words: “Midway along the journey of our life, I woke to find myself in a dark wood, for I had wandered off from the straight path” (1995, p. 3).

164 TREASURE HUNTING Compare the abovementioned passage to Jung’s own words in Liber Secundus written on December 28, 1913: “In the second night thereafter, I am walking alone in a dark forest and I notice that I have lost my way” (Jung, 2009, p. 261). Shamdasani (2009) pointed out that in Jung’s copy of The Divine Comedy there is a slip of paper by this page (p. 261, n. 21). What Jung and Dante seem to have had in common was where they were in their lives when they set sail on the night sea journey. Both men were roughly the same age when they began to write down their fantasies. Jung was 38 and Dante was around 35 when he set out on his journey, which in the Middle Ages was considered mid-life. For instance, in 1935 Jung explicitly referenced Dante while alluding to the psychology of mid-life: A point exists at about the thirty-fifth year when things begin to change, it is the first moment of the shadow side of life, of the going down to death. It is clear that Dante found this point and those who have read Zarathustra will know that Nietzsche also discovered it. (Jung as cited in Shamdasani, 2012, p. 78) Shamdasani (2009) further pointed out that it is likely that Jung read Dante’s Divine Comedy and it influenced “the structure of the work” (p. 202). One could say that Jung was well aware of the parallels between his personal experiment and what Dante had already put down in words nearly 600 years before his own descent into the underworld. As I have already stated, whereas the backdrop of Dante’s vision is colored by an established Christian cosmology, Jung’s is characteristic of an individual cosmology amalgamated through various mythological, religious, scientific, and cultural subcomponents. On this point, Shamdasani (2012) wrote that “Liber Novus depicts Jung’s

165 TREASURE HUNTING descent into Hell. But whereas Dante could utilize an established cosmology, Liber Novus is an attempt to shape an individual cosmology” (p. 79). It is also important to note that Jung wrote down lines from The Divine Comedy into his Black Books while he was experimenting with his fantasy images. Jung (1921/1971) also discussed Dante’s journey in Psychological Types (CW6, para. 377), which as we know was the first major work published Figure 9. Likeness of Dante (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

after his confrontation with the unconscious. Thus, a basic understanding of Dante’s own experience with his master work can ostensibly shed some light on Liber Novus, and by extension image 169. Furthermore, though it is difficult to say with any certainty, an image bearing the likeness of Dante appears in image 169 (Figure 9). This image, along with the

other faces I have noted, further advances a tentative hypothesis that Jung was depicting historical, psychological, and mythological figures through the faces in the painting. This hypothesis is admittedly a difficult one to verify and will likely be met with some skepticism. After all, one may say that I have subjectively projected these figures into image 169. However, I would suggest that because this dissertation is a hermeneutic undertaking, it is important to entertain but critically examine the merits of such an assertion. In this way, I think a few similarities could be written off as subjective fancy or an overly optimistic attitude. Yet, on the other hand, if one can demonstrate a pattern of similarities of more than one facial figure depicted within image 169 that would

166 TREASURE HUNTING strengthen the integrity of the hypothesis. Thus, such a hermeneutic angle is worth exploring. Swedenborg. Because of the parallels between Jung’s confrontation with the unconscious and Emanuel Swedenborg’s (1688-1772) documented encounter with spirits, a literary approach seemed best suited while reviewing his contributions to Jung’s thinking and theorizing. Swedenborg and his visionary states deeply aroused Jung’s interest. Jung (1961/1989) read seven volumes of Swedenborg’s work as early as the 1890s while still attending Basel University (p. 99). Gary Lachman’s (2009) book Swedenborg: An Introduction to His Life and Ideas, will also be used as a source of research material as a means to compare Jung’s experiences with the latter. Swedenborg’s spiritual exegesis or hermeneutic seems particularly relevant to Liber Novus because Jung’s own mode of hermeneutic inquiry used while writing the Black Books is reminiscent of Swedenborg’s method (Shamdasani, 2009, p. 201). Shamdasani (2010) further opined that in “a similar manner to Dante, Swedenborg not only presents a vision of hell but also a hermeneutics, a spiritual hermeneutics” (p. 7). He also contrasted Jung’s basic aims with those of his predecessors: “One way I formulated it was that you have Swedenborg going inside his visionary realm to create revelation, Blake doing so to create art, and Jung to create psychology which is a different enterprise and purpose” (Shamdasani, 2013, p. 38).

167 TREASURE HUNTING Elsewhere, Shamdasani (2010) pointed out that for Swedenborg “The Bible had two levels of meaning, a physical literal level and an inner spiritual one. These were linked by the doctrine of correspondences” (p. 7). As indicated earlier, Jung replaced Swedenborg’s spiritual hermeneutic with a psychological one. Furthermore, Bennet (1985) wrote that Jung mentioned Swedenborg during a conversation he had with him on August 12, 1949. According to Bennet, Jung discussed Swedenborg in the context of his synchronicity hypothesis by comparing it to Swedenborg’s idea of correspondence (p. 23). In this way, Jung seems to have compared the way things tend to converge together in time during the observation of synchronicities and the way that heavenly things correspond to earthly things, which is another way to describe the pre-modern idea of the “sympathy of all things” and the Hermetic axiom “as above, so below.” What is most compelling about Swedenborg, in light of the research

Figure 10. Likeness of Emanuel Swedenborg (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

problem, is the uncanny resemblance of a face (Figure 10) depicted in image 169 with other artistic renderings of Swedenborg. Viewed by itself, it seems to mean little; however, if one can make a compelling argument for the pivotal role that Swedenborg played for Jung, in his personal myth, and psychology, the integrity of the research would rest on a stronger foundation. Goethe. Jung clearly had a life-long affinity for Goethe who could be viewed not only as Jung’s historical predecessor, but a spiritual ancestor as well. Jung (1961/1989) wrote

168 TREASURE HUNTING “My godfather and authority was the great Goethe himself” (p. 87). Shamdasani (2009) underscored Jung’s early attraction to Goethe in his introduction to Liber Novus: “Jung's voracious reading started at this time, and he was particularly struck by Goethe’s Faust. He was struck by the fact that in Mephistopheles, Goethe took the figure of the devil seriously” (p. 195). Jung’s (2009) inclusion of a devil-like character in Liber Novus, under the guise of The Red One (p. 259), evokes Mephistopheles. Jung indicated that he read Faust as early as 1890 at the behest of his mother (Shamdasani, 2012, p. 12). The character of Faust aroused a strong reaction in him (Jung, 1961/1989, p. 195). Jung (1961/1989) wrote: “Goethe had written virtually a basic outline and pattern of my own conflicts and solutions. The dichotomy of Faust-Mephistopheles came together within myself into a single person, and I was that person” (p. 235). In this way, Goethe’s Faust figured prominently into Jung’s personal myth, which he explained: “Later I consciously linked my work to what Faust had passed over: respect for the eternal rights of man, recognition of ‘the ancient,’ and the continuity of culture and intellectual history” (1961/1989, p. 235). So one could view Jung’s work as a compensation for the sin of Faust as depicted in Faust, II, ACT V. As the story goes, Faust reclaims land from the sea and builds his castle. He becomes irritated when he learns that an elderly couple’s cottage and small chapel remain on his land. Although Faust offers the couple a great estate in exchange for their land, the meek couple refuses. Faust dispatches Mephistopheles and three giants to remove them from the land. However, instead of removing them, Mephistopheles murders the couple by burning down their cottage. The couple is revealed to be none other than the legendary Philemon and Baucis who, according to Ovid, hosted the gods

169 TREASURE HUNTING Zeus and Hermes. In a letter to Paul Schmitt dated January 5, 1942, Jung (1973) wrote: “I have taken over Faust as my heritage, and moreover as the advocate of Philemon and Baucis, who, unlike Faust the superman, are the hosts of the gods in a ruthless and godforsaken age” (pp. 309-10). Thus, Jung (1961/1989) felt a personal loss for the murder of Philemon and Baucis and carved into stone the following words at his tower at Bollingen: Philemonis Sacrum—Fausti Poenitentia (Shrine of Philemon—Repentance of Faust) (p. 235, n. 5). In other words, Jung felt inextricably connected to the Faustian myth and was compelled to atone for Faust’s wrongdoings. Faust’s

Figure 11. Likeness of Goethe (Jung, 2009, p. 169). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

literary influence on Liber Novus is evident as well and Jung (2009) made oblique references to Faustian themes (p. 261, p. 302, p. 322), and even went so far as identifying Philemon as the husband of Baucis (p. 312). A rumor has persisted that Jung’s grandfather, Karl Gustav Jung (1794-1864), was the illegitimate son of Goethe. Although doubtful, Jung (1961/1989) nevertheless relished the legend and spoke of it with a certain “gratifying amusement” (p. 36, n. 1), for such a kinship would have explained his fascination with the Faust legend. Like Goethe’s Faust, from a very early age Jung thought himself to be divided into two personalities. The first personality he identified with his conscious identity, a mere Swiss school boy, whereas the second personality seemed to belong to what Jung termed “God’s world (p. 45). Like Nietzsche, Goethe is one of the few historical figures overtly mentioned in Liber Novus and although it is not clear, one can make out a face that resembles his own

170 TREASURE HUNTING in image 169 (Figure 11). It is entirely impossible to say whether Jung incorporated Goethe’s likeness into image 169, however, the possibility is suggestive and in my view should at least be entertained and further explored. For there can be no doubt that Goethe and his work played a formative role on Jung’s thinking. Nietzsche. Among all the philosophers and thinkers who influenced Jung, Friedrich Nietzsche stands out prominently for both the historical and psychological precedence he set. One could say that he made his own descent to the underworld—not unlike his fictional counterpart Zarathustra (1883/2003, p. 39)—about 24 years prior to Jung’s own excavations of his psychic underground. Nietzsche seems to have represented an archetypal “lessons learned” for Jung of what not to do. Jung’s fascination with Nietzsche further becomes apparent in a letter to Freud dated March 3, 1912 in which he invoked Nietzsche: “One repays a teacher badly if one remains only a pupil” (1974, p. 222). Jung read Nietzsche as early as his college years and even corresponded with his sister, Elizabeth Forster-Nietzsche, while he was writing “On the Psychology and Pathology of the Occult Phenomena.” Forster-Nietzsche, at the time (1893-1900), was the primary care giver of her brother who was catatonic and non-responsive, apparently shocked and awed at what he encountered in the figurative abyss. As indicated above, Jung (1961/1989) first read Thus Spoke Zarathustra during his college years and according to Memories, Dreams, Reflections, the book was met with enthusiasm (p. 102). That Thus Spoke Zarathustra was meaningful to Jung is an understatement. It was undoubtedly one of the most important literary and psychological works that Jung would ever read. Shamdasani (2012) wrote:

171 TREASURE HUNTING In 1897, Jung encountered the works of Nietzsche for the first time. Though much discussed, Jung had put off reading him. In Basel, gossip about Nietzsche circulated, especially Jacob Burckhardt’s critical comments. The first work of Nietzsche’s that Jung read was Untimely Meditations, which he responded to with enthusiasm. This led him to read Thus Spoke Zarathustra, which was a powerful experience for him, on part with his reading of Faust. (p. 29) Shamdasani also pointed out that in November 1914, Jung returned to Zarathustra, studying the work even more closely and as he wrote in his Zarathustra Seminar, “with consciousness” (Jung, 1988, p. 259). Shamdasani reported that Jung later recalled that “then suddenly the spirit seized me and carried me to a desert country in which I read Zarathustra” (Jung, 1988, p. 259). Shamdasani (2012) added that “Nietzsche’s Zarathustra strongly shaped the structure and style of Liber Novus” (p. 77). In fact, Jung (2009) directly alluded to Nietzsche twice in Liber Novus (p. 235, p. 293); and, as I mentioned earlier, described him there as a prophet (p. 293). Jung seems to have taken up Nietzsche’s mantle, however whereas Nietzsche (1883/2003) declared that “God is dead! (p. 41), Jung declared him reborn. In Jung’s view, Nietzsche merely expressed a partial truth with his declaration. God dies, but, viewed psychologically, what follows death is a rebirth in the soul. Thus, God was not necessarily dead, but had only discarded an image like a snake sheds its skin because the image could no longer adequately carry the opposites. Jung thus set off to restore God by providing him with a suitable image, which he apparently found in the form of Abraxas, a Gnostic deity capable of containing the opposites (Shamdasani, 2012, p. 121). Thus, one could say that Jung (2009) continued the work of Nietzsche in a way, however he psychologically

172 TREASURE HUNTING amended Nietzsche’s philosophical proclamation: “In you the reborn one will come to be, and the sun of the depths will rise, and a thousand serpents will develop from your dead matter and fall on the sun to choke it” (p. 239). Drob (2012) similarly observed that “For Jung, God, whether dead or only deathly ill, must be reborn or healed by man” (p. 107). Jung apparently viewed his formulation of psychic realism (esse in anima) as adequate to restore the god-image from within. Jung turns to image as the tertium (i.e., reconciling symbol) which breathes new life into the dying forms of antiquity, and as a theme figures prominently in Liber Novus. Jung (2009) further clarified this point in a letter he wrote to John Corrie on February 29, 1919, The primordial creator of the world, the blind creative libido, becomes transformed in man through individuation and out of this process, which is like pregnancy, arises a divine child, a reborn God, no more (longer) dispersed into the millions of creatures, but being one & this individual, and at the same time all individuals, the same in you as in me. (p. 355, n. 123) Jung would later return to this theme in his late work Answer to Job. Edward Edinger (1984, 1992) has expounded on these ideas to a superlative degree. Thus, it is difficult to deny that Jung’s own personal mythology is somehow built up around the example of Nietzsche, but whereas Nietzsche became lost in the underworld, Jung, aided by his ball of thread, was able to safely navigate the labyrinthine corridors of the soul, so to speak. In order to understand image 169, I think all of these factors are relevant in varying degrees. Scientific perspectives.

173 TREASURE HUNTING As previously discussed, Jung (1983) addressed the limitations of empirical science in his very early work The Zofingia Lectures. Jung (1952) formulated his synchronicity hypothesis in part as a consequence of his confrontation with the unconscious (1913-1916), which suggested to him that space and time were not fixed quantities but rather psychically conditioned and relative. Jung’s empirical observations of what he would later formulate as his synchronicity hypothesis seemed to take root within these formative years. For instance, as early as June 3, 1915, Jung (2009) spotted an osprey descend to seize a large fish from the lake before ascending into the sky. Jung reported that after the strange occurrence his soul said to him: “That is a sign that what is below is borne upward” (p. 336). It also seems serendipitous that only a few years earlier, January 15, 1911, Jung dined with Albert Einstein who discussed with him and other guests (e.g., Bleuler) the then-nascent theory of relativity (Freud & Jung, 1973, p. 171). In The Protocols, Jung claimed that Einstein visited him at his residence in Kusnacht more than once. “He [Einstein] explained his theory of relativity to me, and he came to see me several times at my house for this purpose” (n.d., p. 30). Jung even accredited Einstein’s influence to his early thinking on synchronicity (1976, pp. 108-109). Furthermore, Jung’s experience with his psychic images—not to mention his neo-Kantian epistemology—compelled him to speculate that space and time are actually psychological constructs and could only be considered as provisional model-dependent realities. The aforesaid supposition parallels a recently proposed paradigm in physics called modeldependent realism, which suggests that “there is no picture- or theory-independent concept of reality” (Hawking & Mlodinow, 2010, p. 42). This suggestion, put forward by two contemporary physicists, seems to support Jung’s contention that the entire world, at

174 TREASURE HUNTING least the one of appearances, is in fact an image, that is to say, a psychically conditioned model. Another passage from the aforementioned book seems to further echo a modern corollary of Jung’s epistemology: Model-dependent reality applies not only to scientific models but also to the conscious and subconscious mental models we all create in order to interpret and understand the everyday world. There is no way to remove the observer—us— from our perception of the world, which is created through our sensory processing through the way we think and reason. (p. 46) The zeitgeist of the early 20th century was replete with other ideas (e.g., relativity theory, quantum theory) that significantly challenged previous assumptions about the nature of the universe, to include the dominant Newtonian paradigm. Einstein himself had not discounted the possibility that the dead still existed in a four-dimensional block universe and merely occupied a different inertial frame of reference (as cited in Leslie & Kuhn, 2013, p. 3). Thus, one could say that the implications of certain theories and ideas in the postmodern era do in fact provide sufficient leeway for an existence beyond a material substrate, even though the majority of spokespersons of the zeitgeist would claim otherwise. In this way, the dead and the living, as it were, could coexist within one psychophysical continuum not unlike Jung’s notion of the unus mundus. Another relevant parallel in physics is discussed in von Franz’s (1974) book Number and Time, wherein she described the research and work of the late French physicist Olivia Costa de Beauregard who hypothesized the existence of a psychic universe that could be viewed as “only a formal, potential, and timeless frame for events, and simultaneously and undivided, homogenous, universal background” (p. 192). Von

175 TREASURE HUNTING Franz compared Costa de Beauregard’s model to the alchemical idea the unus mundus, which Jung discussed in his late work. Beauregard suggested that the psychic unconscious is atemporally coextensive with the Minkowski-Einstein space-time continuum. In her later work, Psyche and Matter, von Franz (1988/1992) continued her discussion of by using Costa Beauregard’s French term of “infrapsychisme” to describe the psychic universe model (p. 51) Von Franz (1988/1992) supposed that Costa de Beauregard “means something similar to what Jung has called the psychoid aspect of the archetypes and the collective unconscious” (p. 51). Von Franz added that Costa Beauregard hypothesized that what he referred to as an infrapsychisme may “contain a sort of supraconscience—something very akin to Jung’s “absolute knowledge”” (p. 51). According to Olivier Costa Beauregard, the infrapsychisme may be subject to final rather than causal laws, which evokes Jung’s conception of psychic energy. Von Franz further opined that the knowledge which it contains can move faster than light and thus “synchronizes” all single beings because their psychisms all come from the same “storehouse of telecommunication” and in this way “the whole material universe is like a gigantic cybernetic machine which serves the growth of consciousness in all individuals. (p. 51) I present Costa Beauregard’s theory for two reasons: The first reason is because of the way it seems to dovetail into Jung’s overarching weltanschauung and by extension could lend support to both synchronistic phenomena and a quasi-psychic existence beyond space and time. Such late 20th century ideas seem reminiscent of late 19th century ideas, which were promoted by men such as of Crookes and Zöllner. Whether

176 TREASURE HUNTING one calls it the fourth dimension or an infrapsychisme, such ideas seem to suggest the same basic psychological statement—we want to believe in something beyond us that is eternal. The second reason that I have reviewed the said theory, as derived from two sources, is that it seems to be a subject that is highly suggestive and underexplored. Lastly, I should add that both books, Number and Time and Psyche and Matter, are repositories of abundant information regarding Jung’s more esoteric ideas like synchronicity and the unus mundus. Another book that merits mention is Frederic William Henry Myers’ (1906/1961) Human Personality and Its Survival of Bodily Death, which explored the life after death question through an empirical and non-reductive lens. A cursory reading of Jung’s work suggests that Myers to some extent influenced Jung’s thinking. As previously indicated, Jung admired Myers in the same way that he had admired Crookes and Zöllner for their willingness to explore the borderlands of science. If Liber Novus, as Shamdasani has suggested, constitutes a theology of the dead, then Myers’ work and research should be further explored. In the book, Myers broadly covered a range of anomalous phenomena including hypnotism, automatisms, phantasms of the dead, and possession. Myers also introduced the idea of subliminal self that, which although different from Jung’s concept of the self, is similar to his contention that there is subliminal activity taking place beneath and beyond consciousness. Of course, direct relevance to the research topic, image 169, and its relationship to Jung’s personal myth and individual cosmology, can only be gauged if additional information eventually surfaces. At this time, one cannot say with any measure of certainty know what Jung meant to convey with image 169, although there are some hints and clues, which I will aspire to address.

177 TREASURE HUNTING A more recent book that examines the research of Myers and others is The Irreducible Mind: Toward a Psychology for the 21st Century (Kelly & Kelly, 2009). The book, at 643 pages, exhaustively covers anomalous phenomena associated with the mind, and highlights the apparent unwillingness of the mainstream scientific community to study them. Although the book primarily focuses on the researches and theories of F. W. Myers, it also discusses the theories of other contemporaries such as C. G. Jung, Morton Prince, William James, and Sigmund Freud. Simply put, the book constitutes a lucid presentation of concepts, contemporary approaches, and what the authors view as the neglected ideas of a gifted scientist, F. W. Myers. The book is an important resource in that its subject matter is exhaustively researched. It also gives a contemporary picture and update of the latest research into the mind-body problem and does so in an objective manner. As I have aspired to show in the literature review, we still do not have a comprehensive understanding of image 169 within the field of depth psychology. In fact, information and literature regarding Jung’s final painting in Liber Novus is sufficiently limited that it is necessary to survey a range of Jung’s work and ideas in order to uncover clues. To my knowledge, no one else has taken up the hermeneutic task of exploring image 169, which at face value seems to say a great deal about Jung’s psychology and personal myth in visual form. The answer to the research question is not an evident one and practically requires an imaginal descent to Hades to find the clues that can throw light on the research problem. That is why the individual motifs and themes that appear within the painting itself are so important.

178 TREASURE HUNTING

179 TREASURE HUNTING Chapter 3 Methodology and Procedures Research Approach Because the research addresses the likely meaning and relevance of a single painting, a qualitatively designed hermeneutic methodology will be used via deductive and imaginal approaches. It seems that a deductive approach to the general design of the research strategy is most apropos given the broad interdisciplinary nature of the topic. This

Figure 12. Deductive Research Method by Kiley Laughlin.

calls for a “top-down” approach which moves from general theory to a specific but tentative conclusion. The literature review requires an initial broad sweep of relevant material to contextualize and articulate the research problem. This approach could be visualized as an inverted pyramid (Figure 12). An imaginal approach assumes that the imagination—the mind’s image-making faculty—constitutes a legitimate mode of knowing. It is also necessary to point out that an image does not merely refer to a visual picture, but an “an experience” that, understood in terms of Jung’s own theory of psychological types, is accentuated by one of the four functions of consciousness. In other words, an image can just as easily display somatic qualities as visual ones. To be clear, what I mean by the term imaginal is that the psyche not only consists of images, but is image, which is consistent with Jung’s (1957/1967) view: “It is as if we did not know, or else continually forgot, that everything of which we are conscious is an image, and that image is psyche” (CW13, para. 75).

180 TREASURE HUNTING For the sake of clarification, it is important to point out that although instinct too is a product of the psyche, it is for the most part unrepresented. When an instinctual impulse is apprehended by consciousness, it presents itself as an image. As Jung (1948/1969c) suggested “The primordial image might suitably be described as the instinct’s perception of itself, or as the self-portrait of the instinct, in exactly the same way as consciousness is an inward perception of the objective life-process” (CW8, para. 277). In this way, instincts and primordial images (i.e., archetypes) constitute two sides of the same coin. Both are derived from a substrate of psychic energy, which can direct its attendant symptoms or symbolisms along a psychic spectrum ranging from instinct to archetype. Psyche as image parallels Jung’s psychological postulate, esse in anima, which I alluded to earlier. Furthermore, one could say that image is what mediates the relationship between discerning subject and the object. Jung (1921/1971) asserted this point in regards to fantasy—the image-making activity of the psyche— when he wrote: “Fantasy it was and ever is which fashions the bridge between the irreconcilable claims of subject and object” (CW6, para. 78). Image is what unites the subjective observer with the so-called objective phenomenon. All that we ever actually apprehend is the psychic image that arises as a tertium between the subject and object. Thus, knowledge is constantly shaped and synthesized through and in image. All knowledge, is predicated on the image-making faculty of the mind: We are in truth so wrapped about by psychic images that we cannot penetrate at all to the essence of things external to ourselves. All our knowledge consists of

181 TREASURE HUNTING the stuff of the psyche which, because it alone is immediate, is superlatively real. (Jung, 1934/1969b, CW8, para. 680) The imaginal approach also has a reciprocating aspect. In other words, when we experience the world through images, those images in turn influence us as much as we influence them. By actively engaging the object of study one ostensibly enters into a dialogical relationship wherein both subject and object are simultaneously transformed. One could thus draw comparisons between the imaginal approach and what is known in Islam as ta’wil or spiritual hermeneutics, which is an idea that Henry Corbin (1971, 1980) wrote extensively on. According to Corbin (1980), ta’wil is a “spiritual exegesis that is inner, symbolic, esoteric, etc.,” (p. 29), which has a direct bearing on the imagination. The imaginal approach further assumes that the psyche itself constitutes a way of knowing that leads to a window of understanding. The psyche is the one medium that is omnipresent in the background lacking, as Jung himself stressed, any Archimedean point beyond itself. Furthermore, the imaginal approach is intended to enhance the research methodology, rather than replace it. The imaginal approach in this way is an auxiliary tool to further expand and deepen the principal hermeneutic methodology that will be used throughout the dissertation. One could say that the hermeneutics methodology is guided by image as it is the psychic image that ultimately speaks. Research Methodology This study will employ a hermeneutic methodology to address and explore the research question. Hermeneutics may be understood simply as the interpretation of texts. Hermeneutics aspires to answer questions through various philosophical frameworks. Any study could then be said to presuppose some level of hermeneutic inquiry. Put a

182 TREASURE HUNTING different way, one cannot avoid interpretation. As soon as a judgment or evaluation is made, the process of interpretation takes place. Thus, I think it is important that we recall what Franz Riklin wrote regarding the hermeneutical process: Interpretation primarily indicates the act of understanding, but understanding is in itself a phenomenon of extreme complexity, since the act of cognition may, for instance, only be a comparison with something already known, corresponding to incorporation into a system of relationship or consciousness. In such a case, interpretation must be regarded as a process which reduces things and facts to the level of something of which one is already consciously aware. (as cited in Fordham, 1963, p. 111) Two principal texts that will guide the hermeneutic inquiry are Hans-Georg Gadamer’s (1975) Truth and Method and Corbin’s (1995) Swedenborg and Esoteric Islam, which dedicates an entire section to comparative spiritual hermeneutics. Palmer (1969) aptly explained the essential meaning of the hermeneutic circle: Understanding is a basically referential operation; we understand something by comparing it to something we already know. What we understand forms itself into systematic unities, or circles made up of parts. The circle as a whole defines the individual part, and the parts together form the circle. (p. 87) Gadamer (1975) is essential to this process because he underscores the circular nature of any hermeneutical inquiry: All correct interpretation must be on guard against arbitrary fancies and the limitations imposed by imperceptible habits of thought, and it must direct its gaze “on the things themselves” (which, in the case of the literary critic, are

183 TREASURE HUNTING meaningful texts, which themselves are again guided with objects). For the interpreter to let himself be guided by the things themselves is obviously not a matter of a single, “conscientious” decision, but is “the first, last and constant task.” For it is necessary to keep one’s gaze fixed on the thing throughout all the constant distractions that originate in the interpreter himself. (p. 236) I am reminded from the foregoing passage that as an interpreter of text and images, the hermeneutic explorer must be mindful of his own biases, prejudices, and often complex association to the research material. For usually, long before we set out on a journey, we have already decided on our destination. In other words, it is important that any person avoids projecting into the research more than what is actually there, which Gadamer eloquently articulated: A person who is trying to understand a text is always projecting. He projects a meaning for a text as a whole as soon as some initial meaning emerges in the text. Again, the initial meaning emerges only because he is reading the text with particular expectations in regard to a certain meaning. Working out this foreprojection, which is constantly revised in terms of what emerges as he penetrates into the meaning, is understanding what is there. (p. 236) Thus, what seems most essential is to follow James Hillman’s (1983) advice of “sticking to the image” (p. 18). It should be self-evident then that image 169 has its own voice. It has a story to tell and the best way to learn its story is by developing an understanding the language of its authentic meaning through comparison and amplification of similar analogues in extant Jungian and depth psychological literature. Thus, to really get at the

184 TREASURE HUNTING heart of the meaning of image 169, it is important to extensively survey Jung’s work in its totality, which is corollary to the idea of the hermeneutical circle: The hermeneutical circle involves the “contextualist” claim that the “parts” of some larger realty can be understood only in terms of the “whole” of that reality can be understood only in terms of its parts. This is to say that understanding any phenomenon means, first of all, situating it in a larger context in which it has its function and in turn, it also means letting our grasp of this particular phenomenon influence our grasp of the whole context. (Wachterhauser, 1986, p. 23) In other words, the trajectory of hermeneutics is rarely a linear one, but it moves like a circle or perhaps more accurately, a spiral within the totality of the context (i.e., Jung’s personal myth and psychology) in which it is embedded. Depth psychology is the theoretical lens of this study. I think this is important because, as Joseph Coppin and Elizabeth Nelson (2005) have suggested, “depth psychology itself, is at home in the borderland between the known and the yet-to-beknown (which also includes things that will never be fully known)” (p. 86). The central purpose of this study is to develop a better understanding of how image 169 relates to Jung’s personal myth and cosmology. In this way, I think that hermeneutics is the right methodology because we are dealing with a relationship between Jung’s consciousness and the unconscious, which in itself could be understood as a hermeneutic undertaking. In mythic terms, hermeneutics is the science of Hermes, the Greek god of communication and boundaries. Thus, a hermeneutic methodology has the capacity to bridge the gulf between a known and an unknown, ego-consciousness and the boundless expanse of the unconscious. I should also point out that Jung (1948/1967) opined that Mercury, Hermes’

185 TREASURE HUNTING Roman equivalent, was the “god of the unconscious” (CW13, para. 299). Furthermore, it is not enough to merely see the image, but in adhering to a key tenet of archetypal psychology, the researcher has a responsibility to see through the image, which is tantamount to James Hillman’s (1975) notion of psychologizing: Archetypal ideas are primarily speculative ideas, that is, they encourage speculation, a word which means mirroring, reflecting, visioning. As archetypal ideas are rather like mythical figures, so psychologizing by means of them is a fantasying activity, seeing into things and speculating about them by means of fantasies. (p. 118) Hillman further suggested that “ideas remain impractical when we have not grasped or been grasped by them” (p. 122). Thus, the theoretical framework of depth psychology combined with a hermeneutical design amounts to a deep and respectful interpretation of the work and its concomitant phenomenology. Given Jung’s interest in the paranormal, the occult, and the border zones of the exact sciences, one might wonder whether Jung’s goals extended beyond the province of mere empirical psychology. Jung viewed his psychology as a new kind of science that could show how other fields and disciplines were connected together by universal ideas or archetypes. In this way, one could say that Jung viewed analytical psychology as a means to restore the archetypal imagination. Given Jung’s emphasis on the phenomenology of image, the idea of the dead means much more than merely deceased ancestors but involves the legacy of the past re-imagined through the living present. What follows then is not necessarily a metaphysical assertion, but a particular kind of psychological idea that the dead still continue to have an effect on the living, and that the

186 TREASURE HUNTING living can revitalize the dead. What is most essential to Jung is not whether something is physically true, but to what degree an idea preserves a living value within the psyche. Jung (1958) addressed a similar point in his ETH Lectures: The dead are sunk in the earth, so to speak, like grains of wheat, always waiting to spring up into new life. Psychologically this means that the souls of the ancestors (potential factors, qualities, talents, possibilities, and so on, which we have inherited from all the lines of our ancestry) are waiting in the unconscious, and are ready at any time to begin a new growth. You can often observe in human life that certain family characteristics, which seem to have skipped a generation, suddenly develop and then we say: “He is a chip of the old block after all.” Family characteristics come to light in every kind of form, positive and negative: features, bodily illnesses, psychical disturbances, talents and so on. These are, so to speak, the re-animated souls of the ancestors which have been lying dormant in the unconscious, and the alchemists call these units or souls the sleepers or the dead in Hades who are resurrected by the “holy waters” (that is the miraculous water of alchemy, the fertilising Mercury). These waters fall on the dead like spring rain and wake them to a new life. (p. 230) Since we are exploring a series of images that outside of their context mean very little, it is necessary to explore the topic as one would investigate the contents of a dream. This happens to be a topic that Jung (1944/1968) wrote extensively on: The psychological context of dream-contents consists in the web of associations in which the dream is naturally embedded. Theoretically we can never know anything in advance about this web, but in practice it is sometimes possible,

187 TREASURE HUNTING granted long enough experience. Even so, careful analysis will never rely too much on technical rules; the danger of deception and suggestion is too great. In the analysis of isolated dreams above all, this kind of knowing in advance and making assumptions on the grounds of practical expectation or general probability is positively wrong. It should therefore be an absolute rule to assume that every dream, and every part of a dream, is unknown at the outset, and to attempt an interpretation only after carefully taking up the context. We can then apply the meaning we have thus discovered to the text of the dream itself and see whether this yields a fluent reading, or rather whether a satisfying meaning emerges. (CW12, para. 48) Because image 169 could be viewed as a waking dream or active imagination the same methods and techniques traditionally used during Jungian dream analysis could lend support to the study. Furthermore, because I am seeking out similar images and motifs, I will use the amplification method, which Jung (1935/1976) described as follows: “What I do is this. I adopt the method of the philologist, which is far from being free association, and apply a logical principle which is called amplification. It is simply that of seeking the parallels” (CW18, para. 173). By amplifying certain symbolic aspects of image 169 and subsequently comparing them to other symbolic and mythological forms within Jung’s work and the work of his intellectual forerunners, the more accurately I can situate and thereby interpret their meaning by drawing out thematic parallels. I should add that the amplificatory method seeks out parallels in other related fields of inquiry as well in order to establish a meaningful pattern. The amplificatory method works in concert with my hermeneutic methodology and enriches the interpretive process. One could say that

188 TREASURE HUNTING amplification is essential because it provides an opportunity to compare similar themes in other essays and works by Jung, in particular around the estimated time period Jung created image 169. It seems probable that additional clues are out there as well; one only needs to find them through extensive research. It is also important to add that amplification could be viewed as a subcategory of what Jung called his constructive or synthetic method, which Jung seems to have developed as an alternative to Freud’s reductive method. Jung (1921/1971) indicated that “The constructive method is concerned with the elaboration of the products of the unconscious (dreams, fantasies, etc.; v. Fantasy)” (CW6, para. 701). Jung went on to write: Thus, just as no psychological method of interpretation relies exclusively on the associative material supplied by the analysand, the constructive method also makes use of comparative material. And just as reductive interpretation employs parallels drawn from biology, physiology, folklore, literature, and other sources, the constructive treatment of an intellectual problem will make use of philosophical parallels, while the treatment of an intuitive problem will depend more on parallels from mythology and the history of religion. (para. 703) Thus, in this way, the constructive method seems aptly suited to explore and/or interpret image 169, which is consistent with Shamdasani’s (2009) observations regarding Jung’s approach to Liber Novus: He does not try to interpret his fantasies reductively, but sees them as depicting the functioning of general psychological principles in him (such as the relation of introversion to extraversion, thinking and pleasure, etc.), and as depicting literal or symbolic events that are going to happen. Thus the second layer of the Draft

189 TREASURE HUNTING represents the first major and extended attempt to develop and apply his new constructive method. The second layer is itself a hermeneutic experiment. In a critical sense, Liber Novus does not require supplemental interpretation, for it contains its own interpretation. (p. 203) Elsewhere, Shamdasani (2010) added “Like Dante’s vision of hell, like Swedenborg’s vision, Jung’s vision contains its hermeneutic within it, within its ‘layer two’ attempt to elaborate the significance of his fantasies” (p. 8). In this way, one could say that image 169, relative to the other images in Liber Novus, interprets itself to a certain degree and seemingly makes up the living tissue of Jung’s psyche which cannot be extricated from Liber Novus or Jung’s extended body of work. Liber Novus and its concomitant pictures, to include paintings that were not included in Liber Novus, may require examination in order to properly situate image 169 in the appropriate context. One need only find the primer, which is another primary aim of this dissertation. Ethical Considerations Although my study will not include human participants, I will still address ethical considerations to comply with the applicable American Psychological Associations ethical standards and honor the commitments commensurate to conducting research through a depth psychological lens. Coppin and Nelson (2005) suggested that a depth psychological approach to research calls for continual self-awareness (p. 51) and respect for psyche’s fluid, protean, dialectical, perspectival, and complex nature. It is also important that I honor the scholastic research ethos that was drawn from a wide range of epistemological and hermeneutic areas of discourse.

190 TREASURE HUNTING Therefore, throughout the research process and subsequent evaluation of the findings I will aspire to honor the texts while engaging them directly with my psyche in order to harvest their insights. Because I cannot divorce myself from my own subjectivity, I will try to stay mindful of the fact that my own experiences, assumptions, background, gender, ethnicity, biases, typology, and an array of other factors, will influence the way I read and process the material. I will also acknowledge that I have already formed tentative opinions and impressions regarding the illustration and what it may mean. It is also clear that I need to maintain an open mind about new discoveries or insights that I discover throughout my research, as the image may turn out to be something entirely different from what I anticipate. The research process will require continuous reflection upon my reactions to the texts, and the amplifications and associations that I apply to the research topic. With all of these areas in mind, the importance of the role of ethics in my research cannot be overstated. Limitations/Delimitations of Study The research topic presents a number of limitations that are difficult, though not impossible to mitigate. First and foremost, C. G. Jung has been dead for over 50 years. The painting is his work and any definitive knowledge of what it means died with him. Thus, no one can categorically say what the image means. The best one can do is examine the image in its totality and through careful study and cross-comparison, amplify the distinct motifs and images within the painting. Furthermore, there are few, if any, road signs or waypoints established along the route toward the research topic. Image 169 suggests a genuine lacuna. Beyond supposition, no one can say anything definitive about it.

191 TREASURE HUNTING Two other areas could be viewed as limitations. As a researcher I cannot escape my biases and predisposition to the subject matter. I acknowledge that I would like the image to turn out to be something meaningful to depth psychology as well as other related fields and disciplines. However, it is necessary to avoid attempting to insert square pegs into round holes. At the end of the dissertation, the best I may be able to accomplish is merely throw a dim light on the image and vaguely address the research problem, although a dim light is still commensurate to a general increase in knowledge. Admittedly, another limitation is the projected timeline of the publication of The Black Books, which are not expected to publish until 2017. If The Black Books do in fact contain any clues or remarks regarding image 169, I will not know until after I have completed the dissertation process. I have intentionally delimited my research to the scope of the research question, which, as indicated, entails the likely relationship between Jung’s personal myth (i.e., the overarching symbolic narrative of his life) and his individual cosmology (i.e., the principal ideas and experiences that subsequently shaped his psychology and weltanschauung). As I mentioned earlier, Shamdasani (2009) has suggested that “whereas Dante could utilize an established cosmology, Liber Novus is an attempt to shape an individual cosmology” (p. 202). To recap, by individual or private cosmology I am referring to the basic structure of Jung’s fantasies and the corollary ideas that would eventually develop into his psychology—a psychocosmology. Jung’s 1916 mandala Systema Munditotius seems to provide clues as to the structure and scope of Jung’s cosmology, as well as a possible relationship to image 169, which will be discussed. Shamdasani (2008) suggested that Liber Novus serves as a primer to Jung’s ideas: “With

192 TREASURE HUNTING the publication of Jung’s Red Book, the in-depth study of his private cosmology as well as its interplay with his scholarly writings will finally be able to commence” (p. 18). Since 2009 the general public has been able to examine Liber Novus in its entirety and experience its literary and pictorial narrative which provides a rare glimpse into the structure of Jung’s individual cosmology. Thus, both image 169 and Jung are essential at addressing the research question because it is only between the former and the latter that one can one gauge the relationship between the man and the myth. Liber Novus and by extension “The Seven Sermons to the Dead” seem to underpin aspects of Jung’s psychocosmology, which was symbolically depicted in Jung’s mandala sketch Systema Munditotius, and was created in January 1916. These sources seem aptly suited to address the research question. Furthermore, Jung’s 1928 work “The Relations between the Ego and the Unconscious” seems to provide a conceptual translation of Jung’s fantasies that took place approximately between 1913 and 1916.

193 TREASURE HUNTING Chapter 4 Prelude to 1913: Evolution of Jung’s Personal Myth Because the research question addresses the relationship between Jung’s personal myth and image 169, it is helpful to explore the principal circumstances that contributed to the development of his personality and thereby directed the course his life would ultimately take. One could say that the rhizome of Jung’s so-called personal myth first took root during early childhood and was punctuated by important milestones as late as his young adulthood. Although there are a plethora of pre-1913 events that were formative to Jung’s psychological development, I have selected four that seem central to the formation of his personal myth. That Jung (1961/1989) recognized the importance of myth in framing one’s life in a meaningful context cannot be overstated. For he observed that “what we are to our inward vision, and what man appears to be sub specie aeternitatis, can only be expressed by way of myth” (p. 3). Dream of the Subterranean Phallus In Memories, Dreams, Reflections, Jung described a dream that “would preoccupy” him for his entire life (p. 11). When he was three years old, he dreamed he was in a meadow where he discovered a “rectangular, stone-lined hole in the ground” (p. 11). He went down a stone stairway5 where he saw a green curtain. Jung (2009) encountered a similar green curtain in a fantasy he documented in Liber Novus (p. 292). After pushing the curtain aside, he made out a dimly lit rectangular chamber with an arched ceiling hewn in stone. A red carpet ran between the chamber’s entrance and a low platform where sat a golden throne. Atop the throne Jung saw what looked like a fifteen

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The dream evokes the archetypal motif of the katabasis (i.e., descent into the underworld). The meadow scene also seems suggestive of the “meadows of asphodel” in Greek mythology where the deceased were taken after death.

194 TREASURE HUNTING foot tall tree. The massive object had no face, a rounded head, and a single eye gazing upward. Jung (1961/1989) recalled: “The thing did not move, yet I had the feeling that it might at any moment crawl off the throne like a worm [italics added] and creep toward me” (p. 12). Jung subsequently heard his mother’s voice ring out above him: “yes, just look at him. That is the man-eater!” (p. 12). Jung opined that his dream depicted a subterranean God “not to be named” (p. 13). It was only years later that Jung realized that the dream image was a ritual phallus. Jung further stressed that the ithyphallic nature of the fantasy suggested a shadow side of Christianity. He viewed the dream as a kind of initiation and noted that the word phallus means “shining bright” (p. 13). In Psychology of the Unconscious, Jung explored the psychological significance of the phallus which he viewed as a symbol par excellence of the libido. Jung alluded to a number of mythological figures that aptly personified phallic symbols—Tom Thumbs, Dactyls, and Cabiri. “The phallus,” Jung (1916/1991) noted, “is this hero dwarf, who performs great deeds; he, this ugly god in homely form, who is the great doer of wonders, since he is the visible expression of the creative strength incarnate in man” (CW Supp. Vol. B, para. 206).6 Jung added that “The phallus is the being, which moves without limbs, which sees without eyes, which knows the future; and as symbolic representative of the universal creative power existent everywhere immortality is vindicated in it” (para. 209). It is also helpful to mention that Jung’s dream of the phallus did not literally correspond to the male organ but symbolized a creative impulse. Jung (1958/1970)

Jung (1916/1991) is referring to a “Tom Thumb” character depicted in the Shvetashvatara Upanishad (CW Supp. Vol. B, para. 201). Elsewhere, Jung (1984) noted that the cabiri are identical with the Hindu concept of the unconscious creative forces, the samsaras. And they would be the third and the fourth (p. 314). 6

195 TREASURE HUNTING further emphasized this point in one of his last essays wherein he wrote “the phallus is not just a sign that indicates the penis; it is a “symbol” because it has so many other meanings” (CW10, p. 337, n. 3). Furthermore, Marie-Louise von Franz opined that Jung’s childhood dream was constellated around a grave-phallus, observing that The ancient Etruscans, Romans, and Greeks used to erect such things over a man’s grave; they served as symbols of the dead person’s continued spiritual existence and guarantors of his resurrection. In Jung’s dream the deceased clearly becomes a king, who now awaits the resurrection in the form of a grave-phallus. In the same way the dead Sun-king in ancient Egypt, for example, was worshipped as Osiris and represented as a pillar of Djed. Setting up this pillar in the burial chamber signified the arising of the dead, or rather the god Osiris, the green or black god of the lower world who also embodied the spirit of vegetation. (Von Franz as cited in Wehr, 1987, p. 28)7 Jung’s dream of a phallus seems connected to an important scene in Liber Novus where a phallus-shaped symbol appears in Jung’s hand, which I will subsequently discuss in chapter 5. After his break with Freud, Jung felt disoriented and turned to his childhood for answers. With nothing else to do, he resorted to constructing miniature cities and towns, which was the one activity he felt most natural doing as a child. Jung began to accumulate a collection of stones and rocks to physically shape and mold his fantasies. One day, during a walk on the lakeshore near his house, he sighted a peculiar looking

Von Franz’s description is suggestive of the Egyptian deity Hapy—a fertility god of the Nile region— mentioned in chapter 5, n. 83. The grave-phallus motif also parallels the phallus-shaped symbol that appears in Liber Novus (Jung, 2009, p. 339). 7

196 TREASURE HUNTING rock on the shore that he described as follows: “a red stone, a four-sided pyramid about an inch and a half high” (p. 174).8 Jung further observed that “this was the altar. I placed it in the middle under the dome, and as I did so, I recalled the underground phallus [italics added] of my childhood dream. This connection gave me a feeling of satisfaction.” (p. 174). On the eve of his confrontation with the unconscious, the dream of the underground phallus occupied his thoughts. One could say that this playful activity stimulated Jung’s fantasy function in a way that provoked his nekyia, which would be essential to the discovery of his personal myth. Jung asked himself: Now, really, what are you about? You are building a small town, and doing it as if it were a rite!” I had no answer to my question, only the inner certainty that I was on the way to discovering my own myth. For the building game was only a beginning. It released a stream of fantasies which I later carefully wrote down. (p. 175) What followed was a steady flow of fantasy material that he recorded in a series of black journals. Jung had just crossed an important threshold that would alter the course of his life. Jung’s dream of a subterranean phallus seems associated with his relationship to the dead, which, as I will later discuss, is a central theme in Liber Novus. A Secret in the Attic In his autobiography, Jung recounted a peculiar event that took place when he was ten years old. The event seemed connected to the subterranean phallus dream and consequently his then-nascent personal myth. Jung carved a little manikin from a ruler and placed it in a pencil case. He dressed the manikin with a frock coat, a top hat, and

8

A similar stone, presumably the same one, plays a special role throughout his Red Book fantasies (2009, p. 237; p. 239, n. 91; p. 269).

197 TREASURE HUNTING shiny black boots. Jung also put a smooth oblong stone in the pencil case with the manikin. He then hid the pencil case in the attic telling no one about it. The possession of this secret provided Jung with a sense of security. Jung wrote that “the dream of the ithyphallic god was my first great secret; the manikin was the second” (p. 27). In The Protocols, he noted that his encounter with the manikin marked the climax and conclusion of his childhood. (n.d., p. 16). Jung (1961/1989) described the little man as follows: The manikin was a little cloaked god of the ancient world, a Telesphoros such as stands on the monuments of Asklepios and reads to him from a scroll. Along with this recollection there came to me, for the first time, the conviction that there are archaic psychic components which have entered the individual psyche without any direct line of tradition. (p. 23) Elsewhere, Jung (1940/1970) added that Telesphoros was the private daimon of Aesculapius (CW17, para. 300). The late Jungian scholar and writer Daniel Noel (1974) provided some helpful commentary in regards to this figure: The former—Aesculapius in Latin—was the God or demi-God of healing and physicians who was worshiped in a mystery cult with shrines at Epidauros, Kos, and elsewhere in Greece and eventually at the Tiber Island in Rome. He is associated with the snake and the cypress staff and is accompanied by Telesphoros, the “boy genius of healing.” (p. 228)

198 TREASURE HUNTING The etymology of the Greek word Telesphoros literally means “Bringer of completion,” or “Brought to Fulfilment” which seems to parallel the Aristotelian principle of final causation.9 While in England in 1920, Jung carved out of wood two similar figures.10 He stated that at the time he had no recollection of the phallus dream or manikin. The unconscious supplied Jung (1961/1989) with a name to call the figure, which he called Atmavictu (“breath of life”) and indicated that the figure was a further development of that fearful tree of his childhood dream, which was now revealed as the creative impulse [italics added] (p. 23). In The Protocols, Jung (n.d.) phrased the passage differently referring to the subterranean phallus as a quasi-sexual object rather than a tree (p. 16). In Black Book 6, Jung described Philemon as a shape-changing kobold with serpentine qualities. Philemon then morphed into Atmavictu. Thus, it seems likely that Philemon was another form of Atmavictu, who originated from the phallus image.11 One could then view Philemon as a polymorphous libido formation that developed in lockstep with Jung’s psychic development. Philemon and Telesphoros are examples of what Jung considered symbols and transformations of the libido. As fantasy images, these libido formations function as a kind of check and balance to psychological development. Jung (1961/1989) suggested that the manikin figure was distinct from Atmavictu and went on to provide some additional insights in regards to his identity:

9

Jung (1948/1969b) would later include finalism into his theory of psychic energy (CW8, para. 51). It is noteworthy that Jung actually carved two “similar” figures from wood, only one of which did he reproduce in stone (i.e., Atmavictu). 11 Philemon also assumed the guise of Izdubar before turning into a dragon’s serpent. Philemon came into being after the serpent was consumed by fire (Jung, 2009, p. 305, n. 232). 10

199 TREASURE HUNTING Ultimately, the manikin [Telesphoros] was a kabir, wrapped in his little cloak, hidden in the kista, and provided with a supply of life-force, the oblong black stone. But these are connections which became clear to me only much later in life. When I was a child I performed the ritual just as I have seen it done by the natives of Africa; they act first and do not know what they are doing. Only long afterward do they reflect on what they have done. (p. 23) Not only is Telesphoros artistically rendered in Liber Novus, he is found in other standalone paintings that were not included in Liber Novus but can be considered Jungian canon. Jung depicted Telesphoros on pages 113 and 117. On image 113, Jung (2009) appended the following passage: This is the image of the divine child. It means the completion of a long path. Just as the image was finished in April 1919, and work on the next image had already begun, the one who brought the ☉ came as Philemon had predicted to me. I called him Phanes, because he is the newly appearing God. (p. 301, n. 211) The foregoing passage suggests that Telesphoros is a “divine child,” which parallels his role as a “boy genius of healing.” Furthermore, the passage indicates that Phanes arose from Telesphoros. Thus, one could say that Jung’s libido split into two figures: Atmavictu and Telesphoros. From the former arose Philemon whereas from the latter, arose the daimon Phanes. As previously mentioned, the words Phanes and phallus share the same etymological root and mean “Shining” or “appearing,” which suggests a special kinship between the subterranean phallus and Phanes the “Shining One.” In fact, Philemon informed Jung that he will become Phanes, which seems to mean that both

200 TREASURE HUNTING would eventually become unified in a supraordinate principle such as the self (p. 301, n. 211). Towards the end of his life, Jung carved his famous Bollingen stone. While he was carving the stone he began to make out what appeared to be the shape of an eye that looked back at him. What eventually emerged was a little man which Jung associated with Telesphoros. The image further corresponds to the “little doll” one sees in the pupil of another person’s eye; a kind of cabir, which ancient statues depict wearing a hooded cloak and carrying a lantern. On the Bollingen stone, Jung (1961/1989) inscribed a passage on the stone, which he dedicated to Telesphoros. The inscription reads as follows: Time is a child playing like a child playing a board game the kingdom of the child. This is Telesphoros, who roams through the dark regions of this cosmos and glows like a star out of the depths. He points the way to the gates of the sun and to the land of dreams. (p. 227) Jung suggested that the words came to him spontaneously as he worked. The passage is an amalgamation of three historical sources. The first line comes from Heraclitus, the second from the Mithraic Liturgy, and the third from Book 24, verse 12, of The Odyssey. The verse from Homer’s Odyssey deserves special consideration in that it describes a scene where Hermes, equipped with his golden caduceus, guides Penelope’s slain suitors to the underworld. Thus, Telesphoros seems relevant to image 169 in that he, as his effects suggest, is a pointer of the way, a psychopomp, who, like Hermes, guides the dead to “the gates of the sun and to the land of dreams.” Such an image indicates the crossing of a threshold into the afterlife. Furthermore, Telesphoros’ identity as a cabir is also

201 TREASURE HUNTING noteworthy in that the cabiri—personifications of creative impulses—appear in Liber Novus. One can clearly see Goethe’s influence on Jung in the cabiri scene as evidenced by Jung’s allusion to canals and land reclamation.12 In the fantasy, the cabiri declare to Jung (2009): “We carry up what slumbers in the earthly; what is dead and yet enters into the living. We do this slowly and easily; what you do in vain in your human way. We complete what is impossible for you” (p. 320). The cabiri present Jung with a sword with which he chops away the entangled roots of his brain. The roots of Jung’s brain suggest defunct ideas that are no longer commensurate to his psychic growth. After striking down his brain, Jung sets foot on new land on which his tower rises. The reference to a tower suggests a uniting symbol that promotes a new psychological attitude: “I built it out of the lower and upper beyond and not from the surface of the world. Therefore it is new and strange and towers over the plains inhabited by humans. This is the solid and the beginning” (p. 322). The tower symbol mentioned in Liber Novus seems to have foreshadowed Jung’s decision to build a real tower on his Bollingen property, which can be considered a three-dimensional continuation of Liber Novus, a Liber Quartus. Jung (1961/1989) associated his tower with the dead (p. 225) and was where he carved into stone the figure of telesphoros. As chthonic deities, one could say that the cabiri, which telesphoros was one of, played a special role in the development of Jung’s personal myth. According to author Robert Brockway (1996), Jung recalled the memory of the little man in his pencil case while visiting the British Museum in 1920. There he saw a representation of the Greek Telesphoros reading a scroll to Hermes (p. 88). Hermes also

12

The cabiri appear in Faust Part Two, Act II (Goethe, 1832/1994, pp. 110-111)

202 TREASURE HUNTING traditionally evokes the symbolism of the phallus and is often depicted wearing a pileus, a conical or phallus shaped cap. In the ancient world, boundaries and crossroads were often marked by Herms stone.13 The stones were phallic shaped stones that pointed the way. In Black Book 5, Philemon told Jung (2009) that Hermes is his daimon. (p. 337, n. 25). The subterranean phallus also suggests a relationship to Hermes or his Roman counterpart Mercurius, who Jung viewed as a sort of shadow of Christianity.14 In both Memories, Dreams, Reflections and Liber Novus, Jung described another fantasy image that apparently split off from Philemon. Jung (1961/1989) wrote: Later, Philemon became relativized by the emergence of yet another figure, whom I called Ka. In ancient Egypt the “king’s ka” was his earthly form, the embodied soul. In my fantasy the ka-soul came from below, out of the earth as if out of a deep shaft. I did a painting of him, showing him in his earth-bound form, as a herm with base of stone and upper part of bronze. (p. 185) Jung’s description of Ka is suggestive of Hermes or Mercurius. Jung added that Ka had a Mephistophelian character and in contradistinction to Philemon “represented a kind of earth demon or metal demon” (p. 185). Through his study of alchemy, Jung was able to integrate both figures.

Herms (plural: hermai) (Greek: “prop,” “support”) pillars were found in the ancient Greco-Roman world and were accompanied by a head and a phallus. A heap of stones was usually piled at the base of the Herms. 14 In “The Spirit Mercurius,” Jung (1948/1967) wrote “In comparison with the purity and unity of the Christ symbol, Mercurius-lapis is ambiguous, dark, paradoxical, and thoroughly pagan. It therefore represents a part of the psyche which was certainly not moulded by Christianity and can on no account be expressed by the symbol “Christ” (CW13, para. 289). Jung went on to write: “From this standpoint Christ appears as the archetype of consciousness and Mercurius as the archetype of the unconscious” (para. 299). 13

203 TREASURE HUNTING That Jung decided to use a line from the Mithraic Liturgy to describe Telesphoros merits additional commentary for it suggests a soteriological role. Jung wrote extensively on Mithraism in his Psychology of the Unconscious. Mithraism was a religious movement that coexisted with Christianity between the second and third centuries CE. In art, Mithras was usually shown wearing a pileus and was depicted slaying a bull (i.e., tauroctony). Mithras was a Roman god that was adapted from the Persian Mithra. Adherents of Mithraism practiced complex rituals that took place underground in the catacombs, or what were termed Mithraea. Mithras, like Christ, was a savior figure and was associated with the sun god Helios. He was sometimes called Sol Invictus (Jung, 1912/1991, CW Supp. Vol. B, para. 177). The foregoing analysis suggests that Jung’s personal mythology was a dynamic process evolved alongside his own psychic development. Jung’s confrontation with the unconscious seems largely predicated on these two experiences, which were later compounded by other formative events in his life, which I will hereafter discuss. The appearance of these fantasy images and their subsequent transformations seem to be what Jung (1961/1989) had in mind when he evinced the reality of the psyche: “there are things in the psyche which I do not produce, but which produce themselves and have their own life” (p. 183). The implications of such a statement underscore a thorny problem in Jung’s work. If there are things in the psyche that one does not subjectively create, then where do they come from? How can there be anything in the psyche that does not have an ontogenetic origin? From where do objective psychic phenomena originate was a question that Jung would pursue throughout his long career. Depth psychology, in

204 TREASURE HUNTING Jung’s view, was the best tool available to explore such questions. Image 169 seems to address this mystery as we will later discuss. Death of the Father The death of Jung’s father marked the single most tragic event of his young adulthood and it came with considerable costs. In fact, it would become one of the main psychological problems that he would aspire to resolve throughout his adult life. Jung’s father abruptly fell ill in the autumn of 1895 and died on January 28, 1896 when Jung was only 20 years old. Paul Jung’s untimely death left a gaping hole in his life and he inherited the financial burdens of his family. Although his mother received a modest pension, it was hardly enough to support the family. By this time, Jung was a bona fide medical student,15 and thus found himself confronted with the dilemma of finding work or continuing with his education. Fortunately, an uncle provided him a loan which permitted him to continue his studies. His uncle’s loan, combined with side jobs, afforded him enough money to support his mother and sister while he attended school. Six weeks after his father died, Jung (1961/1989) had a dream about him: Suddenly he stood before me and said that he was coming back from his holiday. He had made a good recovery and was now coming home. I thought he would be annoyed with me for having moved into his room. But not a bit of it! Nevertheless, I felt ashamed because I had imagined he was dead. Two days later the dream was repeated. My father had recovered and was coming home, and again I reproached myself because I had thought he was dead. Later I kept asking myself: “What does it mean that my father returns in dreams and that he seems so

15

Jung was officially registered as a medical student on April 18, 1895 (McLynn, 1996, p. 36).

205 TREASURE HUNTING real?” It was an unforgettable experience, and it forced me for the first time to think about life after death. (p. 96) Jung documented three additional dreams he had about his father. The second dream took place in November 1922, a few months before Jung’s mother passed away (p. 315). The third dream took place in 1946. Although Jung’s father did not appear in this dream, it underscored the extent he had inherited the unresolved questions and problems of his father’s life. Jung contended that parents could transfer their own unconscious conflicts onto their children. In his Introduction to Wickes’s “The Inner World of Childhood,” Jung (1931/1954) suggested that parents “should view their children’s symptoms in light of their own problems and conflicts” and advised that parents should always be conscious of the fact that they are the principal cause of neurosis in their children (CW17, para. 84). Jung added: “What usually has the strongest psychic effect on the child is the life which the parents (and ancestors too, for we are dealing here with the age-old psychological phenomenon of original sin) have not lived” (para. 87). So one could say that the untimely death of Jung’s father was inextricably bound up with his own personal myth. Jung (1961/1989) described his third dream as follows: In the dream he was a caretaker of Christian souls, for, according to the ancient view, these are fish caught in Peter’s net. It is equally remarkable that in the same dream my mother was a guardian of departed spirits. Thus both my parents appeared burdened with the problem of the “cure of souls,” which in fact was really my task. Something had remained unfinished and was still with my parents; that is to say, it was still latent in the unconscious and hence reserved for the future. I was being reminded that I had not yet dealt with the major concern of

206 TREASURE HUNTING “philosophical” alchemy, the coniunctio, and thus had not answered the question which the Christian soul put to me. Also the major work on the Grail legend, which my wife had made her life’s task, was not completed. I recall how often the quest for the Grail and the fisher king [a wounded guardian of the grail] came to my mind while I was working on the ichthys symbol in Aion.16 Had it not been for my unwillingness to intrude upon my wife’s field, I would unquestionably have had to include the Grail legend in my studies of alchemy. (p. 214) Jung felt that his father was stricken with an Amfortas wound, “a “fisher king”— whose wound would not heal that Christian suffering for which the alchemists sought the panacea” (p. 215). One could say that Paul Achilles Jung was a deeply wounded man. In the context of his father’s own personal myth, Jung viewed himself as a “dumb” Parsifal who had no choice but to watch helplessly as his father died a slow death over many years. Jung suggested that his father “had literally lived right up to his death the suffering prefigured and promised by Christ, without ever becoming aware that this was a consequence of the imitatio Christi” (p. 215). The Christian theme of the imitatio Christi plays a major role in Liber Novus, which Jung often alluded to. The meaning will be further explored in chapter 5. In regards to his father’s Amfortas wound, Jung noted that his father “wanted to rest content with faith, but faith broke faith with him. Such is frequently the reward of the sacrificium intellectus” (p. 215). Jung was not satisfied with this psychological formula that had defined his father’s life because he considered it no longer viable. “Blind acceptance,” Jung wrote, “never leads to a solution; at best it leads only to a standstill and is paid for heavily in the next generation” (p. 215). In this way,

16

The fish symbol (ichthys) plays a prominent role in Christianity and throws light on its meaning, which Jung investigated in his work Aion (1951/1968a).

207 TREASURE HUNTING one could say that Jung felt it necessary to compensate for his father’s blind acceptance through his own work and by extension the creation of his psychology. In regards to his father, composer Richard Wagner’s play Parsifal sheds some light on the scope of the problem. In Parsifal, Wagner presented a rich psychological rendering of the Grail legend, which resonated strongly enough with Jung for him to include it in Liber Novus.17 The play is divided into three acts and centers around the wounding of Amfortas, the greatest and holiest of knights. The story goes as follows: Titurel and his Christian knights watch over the Holy Grail under guard at his castle along with the sacred spear that pierced Christ’s side during the crucifixion. Klingsor is a sorcerer who seeks the Grail. He has lured the keepers of the Grail into his magic garden, inhabited by Flower Maidens and the enchantress Kundry. Amfortas, Titurel's son, goes into the castle to destroy Klingsor but is seduced by Kundry. After Amfortas drops the sacred spear, Klingsor wounds him with it. Gurnemanz, the oldest of the knights, attempts to ease Amfortas’ pain but only the holy spear can heal his wound. Amfortas regrets his impulsiveness, which was what ultimately enabled Klingsor to wound him with the spear. Gurnemanz reveals to his knights that Amfortas had a holy vision that a pure fool, enlightened by compassion, would heal his wound. A young man is brought to Gurnemanz after he shoots a flying swan with an arrow. The young man is revealed to be Parsifal. Parsifal displays remorse after Gurnemanz shows him the lifeless body of the swan. Parsifal tells Gurnemanz that he left home to follow knights he had spotted in the forest. Gurnemanz invites Parsifal to observe the Grail rite, which he accepts. Klingsor summons Kundry to his castle and

17

Jung (2009) alluded to Wagner’s Parsifal in chapter 17 (Nox Quarta) of Liber Secundus (pp. 301-302).

208 TREASURE HUNTING transforms her into a beautiful maiden just as she appeared when she seduced Amfortas. Klingsor observes Parsifal approaching and dispatches his own knights to fight him. Yet, Parsifal is able to singlehandedly defeat them. When the knights fail, Klingsor directs Kundry to seduce him. Parsifal finds himself in Klingsor’s enchanted Flower Maiden garden and hears a voice call his name. Parsifal confronts Kundry who proceeds to kiss him. As they kiss, he suddenly recoils and feels Amfortas’ wound on his own side. Through this flash of insight, Parsifal manages to reject Kundry’s advances as he is filled with compassion for Amfortas. Kundry curses Parsifal to wander aimlessly in search of the grail and summons Klingsor who appears with the holy spear. Klingsor throws the spear at Parsifal but it stops in mid-air. Parsifal seizes the spear using it to make the sign of the cross. As Klingsor’s castle crumbles and the garden disappears, Parsifal departs in search of the grail. Many years later, an elderly Gurnemanz hears moaning and discovers an unconscious Kundry in the brush nearby. He turns to see a figure approaching in the distance clad in black armor and a helmet and wielding a spear. Gurnemanz rebukes the stranger for carrying a weapon on holy ground. When the stranger takes off his helmet, Gurnemanz recognizes him as Parsifal. Parsifal explains to him that he has been wandering for a long time in search of the grail. Gurnemanz announces that it is Good Friday and realizes that Parsifal is the pure fool, enlightened by compassion that Amfortas predicted would come. After Parsifal baptizes Kundry, they all go to the Grail King’s castle and ask Amfortas to unveil the Grail. Amfortas requests that they slay him. Parsifal touches Amfortas’ wound with the tip of the spear. Amfortas is transfigured, and

209 TREASURE HUNTING as Parsifal radiantly holds up the Grail, Kundry, now released from her curse, sinks to the ground lifeless as a white dove descends to hover above Parsifal. Read psychologically, the three main characters—Klingsor, Kundry, and Parsifal—could be viewed as subordinate parts of Amfortas who has suffered from a psychological split in his personality. A vertical split divides Amfortas from Klingsor while a horizontal split separates them both from Kundry. Both divisions correspond to Jung’s struggles with himself and his father’s so-called Amfortas wound. Parsifal turns out to be the reconciling symbol that unites and renews the personality. One could say that Parsifal is to Amfortas what Carl Jung is to Paul Jung. Parsifal must heal the fisher king’s wound by understanding and accepting reality as it is, rather than how he wishes it could be. This seems to be the basic meaning of the guileless fool, enlightened by compassion. By reconciling the past, Parsifal can renew the present psychological conditions. Through acceptance one can ostensibly forge the right psychological attitude towards the conditions by cooperating with, rather than fighting unconscious contents. One could say that what follows is a new integration of unconscious contents and a general increase in consciousness. Paul Jung’s blind allegiance to Christian values wounded him and hindered his own unconscious drive toward what Jung would later call individuation. Jung (1921/1971) expands on the psychological meaning of the Amfortas’ wound in Psychological Types by applying it to his theory of types. The breakdown of the harmonious cooperation of psychic forces in instinctive life is like an ever open and never healing wound, a veritable Amfortas’ wound, because the differentiation of one function among several inevitably leads to the

210 TREASURE HUNTING hypertrophy of the one and the neglect and atrophy of the others. (CW6, para. 105) Jung’s fourth and final dream of his father took place in December 1947. He described this dream to Victor White in a letter and included it in his autobiography as well. Jung recalled that in the dream his father was a custodian and a distinguished scholar in the afterlife. Jung’s (1961/1989) father retrieved a large Bible from a shelf in his library which “was bound in shiny fishskin” (p. 217). His father turned to a passage in the Pentateuch which he quickly and learnedly began to interpret. Jung could only dimly understand what he was articulating. The scene changed into what can only be described as an Eastern setting. “There a strange sight presented itself: a large hall which was the exact replica of divan-i-kaas (council hall) of Sultan Akbar at Fatehpur Sikri” (p. 218). Jung added that room resembled a gigantic mandala and “corresponded precisely to the real divan-i-kaas” (p. 218).18 Jung spotted a steep flight stairs that ascended to a door high up on the wall. Upon ascending the staircase, Jung’s father said to him: “Now I will lead you into the highest presence” (p. 219) before kneeling and touching his forehead to the floor. Jung attempted to imitate his father but explained that he could not bring his forehead all the way to the floor. Jung attributed his defiance to the fact that he did not want to be a dumb fish, an allusion to his father’s blind allegiance to Christian values (imitatio Christi). Jung understood that the door led to a solitary chamber where Uriah, King David’s general, lived. The dream seems connected to the one he had of his father in 1946, for Jung interpreted it as a description of the unfinished task his father was working

18

Jung (1961/1989) had visited divan-i-kaas while touring India in 1938. Jung mentioned that the mandala structure of divan-i-kaas had greatly impressed him. (p. 219).

211 TREASURE HUNTING out in the afterlife, or put in psychological terms, the unconscious. The fish motif again appears which suggests unconsciousness and Christianity. Jung felt defeated for not being able to decipher his father’s message. In regards to the meaning of Uriah, Jung associated him with a prefiguration of Christ, “the god-man who was abandoned by god” (p. 218). This association would later prompt Jung to write Answer to Job. Jung concluded his commentary on the dream by evincing the value of human freedom. A letter written not long before the abovementioned dream sheds some additional light on its meaning, and by extension how the death of his father prefigured his own personal myth. On December 19, 1947, Jung (1973) wrote the following to Victor White: Only after I had written 25 pages in folio (footnote), it began to dawn on me that Christ—not the man but the divine being—was my secret goal. It came to me as a shock, as I felt utterly unequal to such a task. A dream told me that my small fishing boat had been sunk and that a giant (whom I knew from a dream about 30 years ago) had provided me with a new, beautiful seagoing craft about twice the size of my former boat. My further writing led me to the archetype of the Godman and to the phenomenon of synchronicity which adheres to the archetype. (p. 480) In the same letter, Jung described a dream he had the night before where “a very old man with white locks and a long flowing white beard” (p. 481) offered to share one half of his bed with him. Jung added that “I must say that up to now I have handled the problem of Christ on strictly on the level with the dogma, which is the leading thread through the maze of ‘my’ unthought thoughts” (p. 481). In a subsequent letter dated January 30,

212 TREASURE HUNTING 1948, Jung revealed the identity of the old man as none other than Philemon, his spiritual guru who first appeared to him on January 27, 1914. While I stood before the bed of the Old Man, I thought and felt: Indignus Sum Domine [“I am not worthy, Lord.”] I know him very well: He was my “guru” more than 30 years ago, a real ghostly guru—but that is a long and—I am afraid—exceedingly strange story. It has been since confirmed to me by an old Hindu. You see, something has taken me out of Europe and the Occident and has opened for me the gates of the East as well, so that I should understand something of the human mind (p. 491) One could say that Jung’s foregoing admission to Victor White is highly significant in that the giant Jung refers to in the December 19, 1947 letter is Izdubar who was an early libido formation of Philemon.19 Furthermore, it is important to note that in Liber Novus Philemon provided Jung a gift of a silver fish, which foreshadowed a resolution, however partial, to the psychological problem symbolized by his father’s Amfortas’ wound. That Jung alluded to his own interest in Eastern philosophy and religion in the context of Philemon is relevant to the research question, as will be discussed at length in chapter 6. Thus, one could say that the death of Jung’s father was bound up with his own life-long struggle with Christianity and by extension the formation of his own personal myth, which shows up throughout his psychology and life’s work. The Medium After his father died, Jung found a book in the personal library of a friend’s father that immediately sparked his interest. The book was on spiritualism, a belief system

19

Reference note 11 above.

213 TREASURE HUNTING predicated on the existence of an afterlife and the ability to communicate with the spirits of the deceased. Jung (1961/1989) compared the reports of spiritualistic accounts with stories he had heard during his childhood and identified many parallels (p. 99). Understandably, he was fascinated by such fantastic accounts of spirits and séances, which he believed could shed light on psychic phenomena. Jung admired researchers such as scientists Zöllner and Crookes20 who believed that spiritualistic phenomena could be investigated with modern scientific tools and empirical methods. During his student years, Jung gave a series of lectures for his fraternity Zofingia. The lectures, four in all, provide a window into Jung’s early thinking on matters of science, religion and late 19th century culture. In one of these lectures, “Some Thoughts on Psychology,” Jung (1983) referred to Zöllner and Crookes as intellectual allies, praising them for their willingness to investigate anomalous phenomena like spiritualism (p. 24). Jung however admitted that he was not sure about the reliability or authenticity of the reports regarding spiritual phenomena yet wondered if the widespread skepticism towards them was unfounded. After all, why could there not be such a thing as ghosts or spirits? Furthermore, what does it mean that some form of ghosts and spirits are experienced in every culture and on every continent? Jung (1961/1989) asked himself “Could . . . dreams have anything to do with Ghosts?” (p. 99). Regarding these questions, Jung surveyed the work of many Western philosophers and thinkers.21 Charet (1993) suggested that Jung’s interest in philosophy Johann Karl Friedrich Zöllner (1834-1882). Jung owned Zöllner’s Transcendental Physics (1879) which influenced his doctoral dissertation. William Crookes (1832-1919) was an English chemist and physicist who believed empirical science could successfully study spiritualistic phenomena. Jung (1902/1970) alluded to Crookes’ famous medium, Florence Cook, in his doctoral dissertation (CW1, para. 63). 21 During this time period, Jung (1961/1989) indicated that he read Immanuel Kant’s Dreams of a Spirit Seer and the works of Karl Duprel, Eschenmayer, Passavant, Justinus Kerner, and Gorres, and seven volumes of Swedenborg (p. 99). 20

214 TREASURE HUNTING was tempered by his enthusiasm toward spiritualism. Charet further opined that Jung sought a philosophical framework that would clarify his own ideas and provide an intellectual base from which he could situate spiritualistic phenomena (p. 98). With the exception of a few 19th century philosophical ideas, Jung (1961/1989) was unable to find an explanatory principle sufficient at addressing the objective nature of the psyche. He noted: “But with regard to this cardinal question—the objective nature of the psyche—I could find out absolutely nothing, except what the philosophers said” (p. 99). Thus, one could say that Jung’s early encounter with spiritualism, combined with his study of certain philosophers and thinkers (i.e., Kant and Schopenhauer), had a major influence on the development of his epistemology and by extension, his entire psychological system.22 That Jung (1983) named Kant and Schopenhauer as two of the three principal authorities—the first was the theologian David Strauss—on matters of epistemology reflects his esteemed admiration for them (p. 25). Jung liberally drew from their writings and attempted to leverage their philosophical credentials as a means to support his argument. Jung felt that the principal object of both psychology and spiritualism was the soul, which he went to great lengths to empirically define. In describing the soul, Jung turned to the spiritualistic phenomenon of materialization. Jung viewed materialization as manifest behavior of the soul. Jung went so far as to equate humankind itself as a materialization of the soul. Jung further cited Crooke’s famous medium Florence Cook, who reportedly under controlled conditions could photograph a materialized spirit hand

Immanuel Kant’s theory of knowledge was the principal source for Jung’s (1961/1989) own epistemological approach (p. 70). Jung attributed Kant’s concept of a negative borderline concept to the collective unconscious. 22

215 TREASURE HUNTING (p. 39).23 Lastly, it is important to note that early interest in spiritualism served as the basis for his doctoral thesis titled “On the Psychology and Pathology of So-called Occult Phenomena.” In 1898, two peculiar events marked a critical turning point in Jung’s interest in spiritualistic phenomena. In the first case, Jung and his mother heard a noise come from the kitchen. When Jung got up to investigate the source of the noise, he discovered that the family’s seventy-year-old walnut dining table had split nearly in two for which he could find no plausible explanation. Jung (1961/1989) thought to himself: “What in the world could have caused such an explosion?” (p. 105). Two weeks later, another inexplicable event occurred that, like the first one, consisted of a loud report that came from the sideboard in the kitchen of the Jung household. When Jung looked inside the sideboard he found that the bread knife had inexplicably snapped into several pieces. The following day Jung took the fragments of the knife to a local cutler who examined the fractures with a magnifying glass. The cutler opined that the knife was perfectly sound and suggested that someone must have intentionally broke it. Jung was deeply impressed by the two incidents, which contributed to his life-long interest in the paranormal.24 In his autobiography, Jung indicated that a few weeks after the bread knife incident, he heard about relatives who conducted séances. Among them was his 15-yearold somnambulist cousin Helene Preiswerk (1881-1911), who was able to produce

Crooke’s experiments with the medium Frances Cook reportedly produced a host of parapsychological phenomena, to include the materialization of a spirit who went by the name of Katie King. Crooke’s accounts have been disputed by skeptics, as it was alleged that Crooke was having an affair with Cook. 24 Jung (1973) sent a letter dated November 27, 1934, to the paranormal researcher J. B. Rhine. With the letter he enclosed a picture of the knife, which was broken into four pieces. In his correspondence to Rhine, Jung changed the sequence of the events and suggested that he had only recently met the person with mediumistic faculties (Helene Preiswerk) when in fact she was his first cousin. Jung also divulged that the medium (Helene) had thought about her séances with Jung at around the same time the explosions occurred (pp. 181-182). 23

216 TREASURE HUNTING tapping noises on the walls and the table. The date of his initial encounter with Helene Preiswerk seems dubious. As a first cousin—the daughter of his mother’s brother—Jung likely would have known her prior to 1898. Moreover, a descendent of both Preiswerk and Jung, Stefanie Zumstein-Preiswerk indicated that Jung, although six years older, had been one of Helene’s childhood playmates (Zumstein-Preiswerk as cited in Hillman, 1976, p. 129). Jung (1961/1989) wrote in his autobiography that he knew no girls during his childhood with the exception of his cousins (p. 79). He was presumably referring to his uncle’s daughters. According to Zumstein-Preiswerk and Jaffé, Jung was attending séances as early as 1895. Jung and Jaffé seem to have omitted this fact in his autobiography to conceal the identity of his cousin Helene and maintain a modicum of discretion. Jung intermittently attended séances between 1895 and 1899 “and they were mainly confined to the family circle, except for occasions Jung brought along school friends” (Zumstein-Preiswerk as cited in Hillman, 1976, p. 127). The first séance took place on an evening in June 1895 (p. 126). The participants are reported as Jung, his mother, and three of his cousins to include Helene (Charet, 1993, p. 155). Interestingly, the same table that inexplicably cracked open was used for the initial séance (Zumstein-Preiswerk as cited in Hillman, 1976, p. 126), which would explain why Jung attributed Helene’s mediumistic abilities to the anomalous events. Zumstein-Preiswerk also identified the original owner of both the table and the bread knife as Samuel Preiswerk, Jung’s grandfather and the principal spirit control25 for a majority of the séances. Zumstein-Preiswerk also expanded on the nature of the séances, suggesting that the séances entailed far more than table-turning, but “were

25

In spiritualism, a spirit assumes control of the medium during the séance. During this state, the spirit can speak through the medium.

217 TREASURE HUNTING embedded within a host of other parapsychological phenomena: precognitive dreams, spontaneous psycho-kinesis (table- and knife-breaking), xenoglossia, trance states, etc.” (p. 127). Jung subsequently attended séances hosted by his cousin’s family on a weekly basis. Jung maintained copious records of the proceedings of the séances and, as earlier indicated, used them for his doctoral thesis. Although Jung initially relied on psychological concepts such as autonomous complexes and dissociation to explain spiritualistic phenomena, later on in his career he no longer believed that such theories could adequately explain spiritualism and changed his views on the matter. For Jung, spiritualism possessed far-reaching psychological and metaphysical implications. Accordingly, one could say that his forays into spiritualism heralded a life-long interest in anomalous phenomena. Such a position seems pictorially interwoven in image 169 in that some of the faces suggest a depiction of actual historical and ancestral figures. Thus, one could say that Jung’s encounter with Preiswerk and spiritualism had a major influence on his life. In his 1925 Seminar, Jung (1989/2012) wrote: In 1896 something happened to me that served as an impetus for my future life. A thing of this sort is always to be expected in a man’s life—that is to say, his family history alone is never the key to his creative achievements. The thing that started me off in my interest in psychology was the case of the fifteen-and-a-halfyear-old girl whose case I have described in the Collected Papers, as the first contribution to that series. (p. 3) On at least two occasions Preiswerk apparently demonstrated genuine clairvoyant abilities by describing the pregnancy of her sister Bertha who at the time was living in

218 TREASURE HUNTING Sao Paulo, Brazil. A week after the séance the family received a letter from Bertha confirming that she was married and had given birth to a boy (Zumstein-Preiswerk as cited in Shamdasani, 2012, p. 30).26 On another occasion, Helene accurately described the situation of her sister Dini, who suffered two miscarriages because of a syphilis infection from her husband (Zumstein-Preiswerk as cited in Hillman, 1976, p. 128). That Preiswerk was able to acquire knowledge that she could not have gained through ordinary sensory channels left an indelible impression on Jung and would color his interests throughout his life. In 1912, the same year he had published Symbols of Transformation, Jung had reached an impasse in life, which was marked by mounting tensions between him and Sigmund Freud. The same year Jung (1961/1989) had a dream, which he recalled in his autobiography (p. 171). In the dream, Jung was sitting in the midst of an Italian loggia with pillars, which was set on the tower of a castle. A white dove suddenly descended from the sky and transformed into a little girl who proceeded to place her arms around Jung’s neck before vanishing. The dove reappeared and said slowly in a human voice: “Only in the first hours of the night can I transform myself into a human being, while the male dove is busy with the twelve dead” (p. 171). The bird abruptly flew off and Jung awoke. The dream had a significant effect on Jung, who felt that that something dead was stirring within him that was yet still alive. Another dream followed where Jung encountered “a long row of tombs” where he could clearly espy the mummified corpses from some ancient time. As Jung looked at one of the deceased men, whose attire

Bair (2003) noted that “When Carl checked the date of the journey during which Helly revealed the birth of Bertha’s ‘Negro’ child, he learned that it had occurred on the baby’s actual birthday. ‘Very strange,’ said Emilie in her No. 2 voice when he told her” (p. 48). 26

219 TREASURE HUNTING indicated a person of the 18th century, he suddenly came alive. Jung proceeded to move onto another body which also began to stir when he looked at it. The dream led Jung to believe that the contents of the unconscious could not be viewed as purposeless psychic residue, but constituted dynamic factors that persisted to have distinct effects on the living. The four events that I have discussed above seem formative to the onset of Jung’s confrontation with the unconscious, as well as many of the key ideas in his psychology to include archetypes and synchronicity. Jung wrote: “My work had confirmed this assumption, and in the course of years there developed from it the theory of archetypes” (p. 173). In regards to image 169, which will be examined at length in chapter 6, Jung seems to have realized something essential about his personal myth, which could be said to principally deal with the relationship between the living and the dead, or what Shamdasani has called a theology of the dead. Charet (1993) has aptly articulated this idea: If we turn to Jung’s own inner life in 1912, we can see the first outlines of the direction he was taking. He was no longer living the Christian myth, as he realized, and this led him to an impasse. Instead, the myth that was ordering his life seemed to be associated with the dead. (p. 240)

220 TREASURE HUNTING

221 TREASURE HUNTING Chapter 5 Liber Novus and C. G. Jung’s Apocatastasis of the Dead In late 1913 Jung crossed a threshold into what he later described as his confrontation with the unconscious. Jung documented these experiences in his Black Books and later transcribed them into Liber Novus. A comprehensive review of Liber Novus is beyond the scope of the research question, however, select parts may contribute to a better understanding of what Jung was attempting to express through image 169. Therefore, I will discuss and critically examine the relevant parts of Liber Novus that may shed light on the relationship between image 169 and what Shamdasani has referred to as Jung’s theology of the dead. According to Shamdasani (2010), the aforementioned term suggests that “redemption does not take the form of saving the souls of the dead, but taking on their legacy, answering their unanswered questions” (p. 14). Shamdasani’s conception of a “theology of the dead” implies an apocatastasis,27 which seems to more precisely describe what Jung had in mind. Its meaning, although antiquated, seems to constitute a cornerstone of the doctrinal groundwork he established in The Black Books and Liber Novus. Apocatastasis is difficult to pin down to any particular meaning and requires some clarification. The term, which translates from the original Greek to restoration to the whole, originated from Hellenistic, Stoic, and Christian traditions. It is attributed to three primary sources: St. Paul, Origen,28 and St. Gregory of Nyssa. Theologically, the doctrine suggests a universal reconciliation with God. The doctrine states that God, through Christ, will universally restore all human souls regardless of their spiritual state.

“ ‘Apocatastasis’ is a good term in this context for one aspect of the theology of the dead” (Shamdasani, May 3, 2016, personal communication). 28 Jung owned volumes one and two of The Works of Origen. 27

222 TREASURE HUNTING Apocatastasis viewed through a Jungian lens suggests a gradual restoration through the human soul, which recurs continuously and culminates in the realization of the self archetype. I submit that the principal difference between a theological and psychological apocatastasis is one of degree rather than of kind. Whereas the apocatastasis of St. Paul and Origen is total and instantaneous—“in the twinkling of an eye” (1 Corinthians 15:52)—its depth psychological counterpart is partial and progressive. In other words, the psychological equivalent of apocatastasis suggests that one restores the dead by contributing to their development in the unconscious. Thus, one could say that there is a distinct soteriological quality in Jung’s apocatastasis of the dead, which is informed by religion, myth, and depth psychology. Jung relied heavily on the Christian myth to illustrate this point, which I will further discuss. Throughout his life, Jung tried to apply the pragmatic rule which describes the practical consequences of a particular effect on a person. Jung (2009) was principally concerned with effects, which he underscored in Liber Novus: “The dead produce effects, that is sufficient” (p. 298). Thus, there are two ways that one could interpret Jung’s conception of the dead. In one way, Jung viewed the dead as psychic factors that continue to cast effects on the living. The dead would likely represent effectual ideas (memories, impressions, engrams, etc.) and thus in Jung’s view should be considered as psychically real. Viewed from a phenomenological standpoint, the psychic effect of a discarnate spirit would be indistinguishable from the effect of a splinter complex. The value of the belief in the dead, regardless of metaphysical implications, could be judged by how well such a belief advances the development of the psyche. However, Jung did not wish to reduce the dead to purely biological and historical precursors. In fact, in his later years he became

223 TREASURE HUNTING more open to the idea of post-mortem survival, although he admitted that one could only speculate on what such an existence would be like. Jung (1961/1989) opined that “the psyche might be that existence in which the hereafter or the land of the dead is located” (p. 320). Understandably, what I have presented as the apocatastasis of the dead raises a slew of questions, which I will aspire to answer. Who or what are the dead? In his writings, Jung was never explicit about who the dead are, although he did allude to his family ancestry in the Memories, Dreams, Reflections: Am I a combination of the lives of these ancestors and I do embody these lives again? Have I lived before as a specific personality, and I progress so far in that life that I am now able to seek a solution? I do not know. Buddha left the question open, and I like to assume that he himself did not know with certainty. (p. 318) In a conversation with James Hillman, Shamdasani (2013) opined “It is the ancestors. It is the dead. This is no mere metaphor. This is no cipher for the unconscious or something like that. When he talks about the dead he means the dead. And they’re present in images” (p. 2). Whatever the case, Jung believed that an individual’s personal myth finds its best possible expression when it is associated with the community of the dead, which suggests the ancestral and spiritual patterns that form our lives and determine one’s fate. Did Jung intend for a literal or figurative understanding of the dead? Jung eschewed either-or categories and preferred to view such phenomena symbolically. The dead are mostly unconscious and accordingly are best expressed in symbolic terms rather than concrete ones. That is why Jung preferred to speak in terms of myth while addressing the topic, which he alluded to in chapter 11 of Memories, Dreams,

224 TREASURE HUNTING Reflections: “Myths are the earliest form of science. When I speak of things after death, I am speaking out of inner promptings, and can go no farther than to tell you dreams and myths that relate to the subject” (1961/1989, p. 304). How do the living assist the restoration of the dead to an original state? In some paradoxical way it seems that the dead, whether we are speaking of our ancestors or splinter psyches, benefit from the individuation of the living, which provides, as it were, a vicarious means to advance their own development toward a gradual rather than immediate apocatastasis. Jung seems to have left a tell-tale clue regarding this idea in his autobiography: It seems probable to me that in the hereafter, too, there exist certain limitations, but that the souls of the dead only gradually find out where the limits of the liberated state lie. Somewhere “out there” there must be a determinant, a necessity conditioning the world, which seeks to put an end to the after-death state. This creative determinant—so I imagine it—must decide what souls will plunge again into birth. Certain souls, I imagine feel the state of three-dimensional existence to be more blissful than that of Eternity. But perhaps that depends upon how much of completeness or incompleteness they have taken across with them from their human existence. (p. 321) Jung suggested that there is a complementary and compensatory relationship between the living and the dead just as there is ostensibly a self-regulating relationship between consciousness and the unconscious. The knowledge of the dead is apparently delimited by what one gains through the phenomenal world. The living personality seems to have the capacity to gradually—within the four-dimensional space-time continuum—restore

225 TREASURE HUNTING the dead by supplying answers to the unconscious and consciously navigating its own individuation process toward a state of wholeness, an eschaton. How and why this process works, if it even does at all, are questions that extend beyond the scope of this study. What is essential is Jung’s conception of such ideas and how they drove the development of his theories and relate to image 169, per the research question. In fact, image 169 seems to intimate certain features of the apocatastasis in pictorial form. A close reading of Liber Novus throws a critical light on the genesis of this idea. Liber Primus The Way of What Is to Come (Liber Primus)29 begins with a dialogue between Jung (2009) and his soul: “My soul, where are you? Do you hear me? I speak, I call you, are you there?” (p. 232). Jung confesses to his soul that his life heretofore has been a period of wanderings. Jung tells his soul about encountering her as a child in his dreams before posing questions to her.30 The spirit of the depths declares: “The life that you could still live, you should live” (p. 234). Jung suggests that the provisional world experienced by his ego is merely a symbolic expression of a supraordinate reality. In chapter 3, “Finding the Soul,” Jung reflects on some of his past dreams. The spirit of the depths falls silent for six nights that follow and on the seventh night, Jung hears these words: “Look into your depths, pray to your depths, waken the dead” (p. 240). Jung is perplexed by the voice of the depths and recalls the faint traces of previous dreams. Waking the dead in this context suggests stirring the psychic contents within the unconscious that had heretofore remained inactive. Jung would later interpret some of

29

Jung recorded its contents in The Black Books between November 12, 1913 and December 25, 1913. Jung (1961/1989) had this dream in December 1912 and described it in his autobiography (p. 171). See chapter 4 above for additional information. 30

226 TREASURE HUNTING these contents as the dead. At this time he was still uncertain about the ontological nature of his experience and thus viewed it in symbolic terms. Jung (2014) discussed the equivalence of the land of the dead with the unconscious in his Dream Interpretation Ancient and Modern: Notes from the Seminar Given in 1936-1941, “To the question, “What is the land of the dead?” Jung responded as follows: “The unconscious is the land of the dead. It is the other side; that which is unconscious to us, which is not seen but affects us” (p. 248). Elsewhere, Jung (1961/1989) suggested In a certain sense this is also a relationship to the collectivity of the dead; for the unconscious corresponds to the mythic land of the dead, the land of the ancestors. If, therefore, one has a fantasy of the soul vanishing, this means that it has withdrawn into the unconscious or into the land of the dead. There it produces a mysterious animation and gives visible form to the ancestral traces, the collective contents. Like a medium, it gives the dead a chance to manifest themselves. Therefore, soon after the disappearance of my soul the “dead” appeared to me, and the result was the Septem Sermones. (p. 191) In chapter 4, “The Desert,” Jung’s (2009) soul leads him to a desert, which he describes as a “desert of my own self” (p. 235). Jung questions his soul: “My soul, what am I to do here?” (p. 236). His soul answers: “Wait.” The strange desolate landscape shows Jung how infertile and barren his soul had become. Jung recognizes that his spirit has been enriched to the detriment of his soul. Jung compares his way to hot sand and alludes to the breath of his soul’s animating presence, which echoes his psychological postulate esse in anima that he introduced in Psychological Types. Jung’s soul helps him

227 TREASURE HUNTING develop a new attitude toward his psychic life, that is to say, direct knowledge of the objective psyche. In chapter 5, “Descent into Hell in the Future,” Jung hears a voice declare: “I am falling” (p. 237), and then he hears other voices which inquire: “Where to? What do you want?” Jung observes that it is a “dreadful deep” (p. 237). Jung does not reveal who is falling, but states that he wishes to fall too. “I want to fall with you, whoever you are” (p. 237).31 Jung indicates that the spirit of depths opened his eyes and he saw “inner things” (p. 237). Jung encounters the entrance of a cave and proceeds to crawl through a narrow crack in the rock until he reaches the bottom which is covered with black water. Jung catches a glimpse of a red stone which “he must reach” (p. 237). While Jung wades through the water he hears shrieking voices which seem to correspond with the dead. This is the first mention of the dead in Liber Novus. Jung grasps the stone revealing an opening in the rock. Jung hears the flow of underground waters beyond the hole and subsequently sees the “bloody head of a man on the dark stream” (p. 237). Jung spots a blazing red sun approaching which radiates through the dark waters. A thousand small serpents try to reach the sun occluding its light. Night falls and a thick red blood streams up. Jung wonders what he saw (p. 238). Jung sees through the red light of the stone and realizes that the corpse he encountered in the stream was the “blond hero lay slain” (p. 238). In chapter 6, “Splitting of the Spirit,” Jung suggests that the meaning of the descent into hell is “to become hell oneself” (p. 240). Jung makes some puzzling admissions claiming that the desert path consists not only of glowing sand but also

This scene is apparently what Jung was describing in his autobiography when he wrote “Then I let myself drop” (1961/1989, p. 179). 31

228 TREASURE HUNTING horrible tangled invisible beings who live in the desert, which read psychologically seems to refer to Jung’s personal unconscious. Jung further suggests that the desert only looks empty but is in fact populated by magical beings that latch on to Jung and “daimonically” change his form (p. 240).32 The spirit of the depths commands Jung: “Climb down into your depths, sink!” (p. 240). In chapter 7, “Murder of the Hero,” Jung has a vision where he is accompanied by an unidentified youth and he hears the sounding of the horn of Siegfried. He and the youth await the hero’s arrival “beside a narrow rocky path” (p. 241). When Siegfried comes in his bone-laden chariot, the youth and Jung step out with their rifles and fire at him. After Siegfried is slain, it begins to rain. Jung is greatly troubled by what he did. The youth plays an important role in the unfolding drama. Jung clarifies the identity of this figure in the Draft: “My dream vision showed me that I was not alone when I committed the deed. I was helped by a youth, that is, one who was younger than me; a rejuvenated version of myself” (p. 242, n. 121). Jung has a second vision, which he describes as follows: “I saw a merry garden, in which forms walked clad in white silk, all covered in colored light, some reddish, the others blueish and greenish” (p. 242). This passage seems prescient for its use of the color scheme, which, with the exception of the color yellow or gold, corresponds to the four-fold color scheme found in image 169. The four-fold color scheme will be further addressed in chapter 6. Jung turns to the psychological meaning of the Harrowing of Hell. Jung suggests that Christ took on the form of the Antichrist, which prefigures the birth of a new God “whose coming the ancients had foreseen” (p. 164). Jung shifts his attention

32

This seems to describe Jung’s concept of complexes, which will play a primary role in his psychology.

229 TREASURE HUNTING to the rain and laments the dead within him. For Jung, the rain figuratively begets new wheat, which is to say, “the young, germinating God” (p. 242). In chapter 8, “The Conception of the God,” the spirit of the depths announces that it has received Jung’s sprout. Jung announces the birth of a new God who Jung describes as a relative God that can ostensibly unite the opposites through ambiguity. Jung uses Christ’s journey to hell as a means of illustration. Prior to ascending to heaven, Christ had to become his dark half, the Antichrist. Jung points out that no one knows what happened during the three days Christ was in hell. Jung suggests that he has experienced hell first-hand and alludes to Christ preaching to the dead before posing the following question to the reader: “Do you know how this happened?”33 Jung implies that the answer can be found in apocryphal books (e.g., Gospel of Peter) which could likely be traced to Gnostic authorship. “Read the unknown books of the ancients, you will learn much from them” (p. 244). Jung turns to the motif of journeying to hell, which, according to Jung, necessitates that one becomes hell (p. 244). Jung suggests that if we want to overcome death, we must enliven it, which is a central theme in Liber Novus—waking the dead by shaking the very foundations of hell. Jung’s commentary seems to parallel the psychological meaning of individuation. In his subsequent works, Jung (1951/1968a) wrote The scope of integration is suggested by the descensus ad inferos—the descent of Christ’s soul to hell—its work of redemption also encompasses the dead. The

In his late work Aion, Jung (1951/1968a) would compare Christ’s Harrowing of Hell (descensus ad inferos) to his individuation process (CW9ii, para. 72). 33

230 TREASURE HUNTING psychological equivalent of this forms the integration of the collective unconscious, which represents an essential part of the individuation process. (CW9ii, para. 72) It is important to note that image 169 suggests a visionary formulation of the foregoing idea, which will be further discussed in chapter 6. Jung acknowledges the birth of a new God that his soul has given birth to. He also accepts that if it were not for the murder of the hero, the birth of the new God would not be possible. Jung had to sacrifice his hero to find his soul. Jung ridicules apish imitation, which had become a staple in Christianity. The heroic attitude seems to beget heroes through the process of imitation. Jung (2009) suggests an inner God in the individual which foreshadows the formulation of his concept of the self. “So it is always only the one God despite his multiplicity. You arrive at him in yourself and only through yourself seizing you. It seizes you in the advancement of your life” (p. 245). In chapter 9, “Mysterium. Encounter,” Jung encounters the fantasy of an old man and his blind daughter—Elijah and Salome. At the end of Liber Primus, Jung sees Christ crucified atop a green mountain. The black serpent coils itself around Jung’s feet before he spreads his arms wide as the serpent wraps itself around his whole body. Jung describes his countenance as that of a lion.34 Salome calls Jung Christ. Jung is startled by Salome’s words. She proceeds to wrap her hair around his feet and then declares that she sees light. The serpent falls from Jung’s body and lies languidly on the ground. Elijah

34

Jung (1989/2012) is alluding to Leontocephalus, a lion-headed god in the Mithraic religion (p. 106). He is alternatively called Aion or Chronos and represents time. According to Jung (1912/1967), “He stands in a rigid attitude, wrapped in the coils of a serpent whose head juts forward over the head of the lion. In each hand he holds a key, on his breast is a thunderbolt, on his back are the four wings of the wind, and on his body are the signs of the zodiac” (CW5, para. 425).

231 TREASURE HUNTING declares: “Your work is fulfilled here. Other things will come. Seek untiringly, and above all write exactly what you see” (p. 252). Jung suggests that people err in their tendency to assume all events are merely outer ones, when in fact the real activity arises from within, from what Jung calls inner events. Jung compares the mystery of Christ with an inner event, which is to say a symbolic one. Jung hopes that the terror to come will turn men’s eyes inward. This God seems to be a uniting symbol that can reconcile the opposites of light and alludes to darkness. Jung realizes that he must become a Christ and suffer himself rather than rely on an intermediary. Accordingly, the individual must willingly sacrifice himself in lieu of Christ. Jung suggests that the mystery showed him in images how he should afterward live. Jung recognizes that he has yet to earn his boon (p. 254). Liber Secundus Chapter 6 of Liber Secundus35 is aptly titled “Death.” Jung wanders to the northern land and finds himself “under a gray sky in misty-hazy cool-moist air” (p. 273). Jung indicates that he is approaching what could be described as the topological lowlands of his psychic cartography “where all power and all striving unites with the immeasurable extent of the sea” (p. 273). Jung encounters swamplands accompanied by “still, murky water” (p. 273). Jung follows the sea36 and what he describes as the “womb of the source, the boundless expansion and immeasurable depths” (p. 273). Jung’s narration shifts to the first-person plural, which suggests that he is accompanied by others. “We wander along

35

What would eventually become The Images of the Erring (Liber Secundus) was written in The Black Books between December 26, 1913 and January 27, 1914. 36 According to Jung (1988): “the ocean is always the symbol of the collective unconscious” (p. 71).

232 TREASURE HUNTING the hills quietly and they open up to a dusky, unspeakably remote horizon, where the sky and the sea are fused into infinity” (p. 273). Jung makes out a silhouette of a person standing on a dune that is wearing a black wrinkled coat. He addresses him as “the dark one” (p. 273). The figure asks Jung “what leads you to me?” (p. 274). The dark one adds that “The living are never guests here” (p. 274). The dark one tells Jung that the dead frequent the place in “dense crowds” but the living never come to this place. Jung explains to the dark one that he followed the living stream and was thus able to find him. The dark one informs Jung that his path has led him “into the undifferentiable, where none is equal or unequal, but all are one with one another” (p. 274). The dark one then asks Jung: “Do you see what approaches there?” (p. 274). Jung notices a dark wall of clouds swimming towards them on the tide. As it nears, he discerns “densely pressed multitudes of men, old men, women, children, and other animals” (p. 274). The multitude flows past paying them no attention. The wave of people is absorbed into the sea and becomes indistinguishable. “Wave after wave approaches, and ever new droves dissolve into the black air” (p. 274). Jung presses the dark one with a question: “Is this the end?” (p. 274). What Jung describes as a ball of blood and fire of red light37 emerges from the “smoky shroud—a new sun escapes from the bloody sea, and rolls gleamingly toward the uttermost depths—it disappears at my feet” (p. 274). Jung indicates that the sun still glowed within him. He proceeds to step into what he calls the “great shadow” (p. 274) and follows the stream “into the depths of what is to

37

This vision seems to coincide with what Jung describes in chapter 5 of Liber Primus (p. 237) where Jung observed a blazing red sun further down the stream which radiates through the dark waters.

233 TREASURE HUNTING come” (p. 274). Jung suggests that a new sun has risen. The darkness has its own sun that shines above. Jung asserts that he has comprehended his darkness and this dream has thrust him into the depths of the millennia (i.e., spirit of the depths). Jung poses a question to himself: “But what happened to my day?” (p. 274). Jung answers that darkness has seized the world while the terrible war arose, which likely foreshadows World War One. Jung suggests that “we had to taste Hell” (p. 274), which he adds that it was necessary to comprehend the darkness. Jung observes that good and evil are complementary principles and applies the same model of opposites to life and death which he asserts “must strike a balance in your existence” (p. 274). Jung’s view of life energy (i.e., libido) entails the inevitability of death. “Balance is at once life and death” (p. 274). By accepting the inevitability of death, one promotes the principle of life. Jung asserts that life needs death. Jung further suggests that by beholding death, one can learn how to live. The limitations that death imposes on life enables its fulfilment. Jung seems to be describing his early interpretation of psychic energy, which he would later address in his essay of the same name in 1928—an important year in his career. The conception of psychic energy is essential to the theoretical implications of a post-mortem existence which could be construed as something akin to the Gnostic concept of the pleroma. One could say that Jung tried to lay an ontological groundwork for at least the possibility of an afterlife predicated on the equivalence of psychic energy with physical energy. Jung returns to the motif of the red sun, which has risen in the shadow world. The motif evokes the idea of enantiodromia,38 that there is a compensatory relationship

The term means “running into its opposite.” For additional information, reference Liber Novus, p. 327, n. 341). 38

234 TREASURE HUNTING between life and death, light and darkness. “For if the wretchedness and poverty of this life ends, another life begins in what is opposed to me” (p. 275). Jung associates such a phenomenon with his Achilles heel. Jung turns to the base conditions of life. Jung seems to be undergoing the painful process of a second birth and indicates that for three nights39 he was assaulted by the horrors of his birth before “life began to stir again” (p. 275). In chapter 14, “Divine Folly,” Jung finds himself standing in a high hall. Before him he sees a green curtain strewn between two columns. Jung opens the curtain to see a small deep room with bare walls. Jung sets off between the pillars and enters an anteroom. Jung encounters two doors, one on the left and one on the right. Jung selects the door on the right and enters finding himself in a large library. He looks around and sees the librarian. Jung approaches the librarian who looks up from the book he is reading and says: “What do you want?” (p. 292). Unsure, Jung answers: “I’d like to have Thomas à Kempis’ The Imitation of Christ” (p. 292). Although the librarian appears astonished at Jung’s request, he hands him an order-form. The librarian admits that he was surprised by Jung’s request because the book is seldom requested. When asked if he reads The Imitation of Christ for the philosophical or theological purposes, Jung states he reads it for the sake of prayer rather than out of scholarly interest. Jung says that he values science but that it sometimes leaves him sick, and thus his interest in religion. The librarian makes a passing comment about Christian dogma and Jung opines that there is more to Christianity than we see. The librarian replies that Christianity is just a religion. The librarian suggests that there are substitutes for prayer as a result of the gradual collapse of religion. The librarian alludes to Thus Spoke Zarathustra and Faust as

The three nights is probably an allusion to Christ’s three days in the underworld (Jung, 1916/1991, CW Supp. Vol. B, para. 520). 39

235 TREASURE HUNTING books of prayer. Jung states that although he partially agrees with the librarian, Nietzsche’s truth strikes him as overly provocative and agitated. Jung does not think that Nietzsche’s truth can appeal or apply to all. The librarian opines that Nietzsche “interiorizes man exceptionally well” (p. 293). Jung responds that perhaps he is right but believes that “Nietzsche speaks to those who need more freedom, not to those who clash strongly with life, who bleed from wounds, and who hold fast to actualities” (p. 293). Jung further suggests that “Nietzsche is too oppositional” (p. 293). He adds: “Like everything healthy and long-lasting, truth unfortunately adheres more to the middle way [italics added], which we unjustly abhor” (p. 293). The librarian answers: I had no idea that you take such a mediating position” (p. 293). Jung responds: “Neither did I—my position is not entirely clear to me. If I mediate, I certainly mediate in a very peculiar manner” (p. 293). A servant then brings the book The Imitation of Christ, and Jung departs. Jung observes that the divine wants to live with him and states “Take as your model one that shows you how to live the divine” (p. 293).40 Jung further suggests that people should carry their own cross. Jung quotes The Imitation of Christ: “For if you share his death, you will also share his life” (p. 293, n. 162). Jung supposes that Christ did not imitate anyone but lived his own life. “He [Christ] did not emulate any model” (p. 293). In this way, one could say that Christ is the prototype of Jung’s emerging concept of individuation. Jung realizes that he must go his own way even if that means no longer calling himself a Christian. Jung does not want to imitate Christ’s life, but live his own life. He realizes that an inner voice protested and reminded him that his time also had its

40

This passage seems to say that Christ is humanity’s natural model.

236 TREASURE HUNTING share of prophets who had struggled against the burden of history. Jung suggests that he was not able to unite Christ with the prophets of his time. Jung mentions two modern prophets, one commanding submission (i.e., Schopenhauer) and the other invoking the will to power (i.e., Nietzsche). Jung decides to start with his lower self in the underworld. Jung concludes the chapter with an allusion to the compensatory relationship of the opposites. Jung seems to be articulating the bond forged between Christ and his other, Satan, which read psychologically parallels the relationship between the ego and the shadow. In chapter 15, “Nox Secunda,” after he leaves the library Jung finds himself back in the same anteroom and looks at the door to his left. Jung places The Imitation of Christ in his pocket and proceeds to the door on the left, which leads to a large kitchen. Jung encounters a fat woman standing at the stove who is the cook. Jung greets her and asks if he may sit down. The woman tells Jung to have a seat and wipes the table in front of him. Jung takes out the book and begins to read. The cook asks Jung if he is a clergyman. Jung replies no and asks her why she thinks that. The cook tells Jung that her mother left her a similar looking book that she often uses to pray. She identifies the book as The Imitation of Christ. Jung tells the cook that he too is reading The Imitation of Christ. While she is speaking, Jung returns to the book and comes across an obscure passage located in chapter 19: “The righteous base their intentions more on the mercy of God, which in whatever they undertake they trust more than their own wisdom” (p. 294). Jung associates the passage to Henri Bergson’s (1851-1941) intuitive method.41 Jung tells the cook that her mother was a clever woman and she did well by giving her the book.

Jung was familiar with Bergson’s ideas and had read Creative Evolution as early as 1912. Jung attributed Bergson’s method as an influence on his own constructive method. 41

237 TREASURE HUNTING Jung returns to his thoughts and thinks to himself: “I believe one can also follow one’s nose. That would also be the intuitive method” (p. 294). Something strange abruptly happens. As he ponders the question of Christ an inner disquiet seizes him and he hears an “odd swishing and whirring” (p. 294) which fills the room. Several shadowlike human forms (i.e., shades) rush past him and he hears an ensemble of voices utter the following words: “Let us pray in the temple” (p. 294). Jung calls out to the voices: “Where are you rushing off to?” (p. 294). A bearded man with tousled hair and dark shining eyes stops and turns to Jung: “We are wandering to Jerusalem to pray at the most holy sepulcher” (p. 294). Jung responds: “Take me with you” (p. 294). The man replies: “You cannot join us, you have a body. But we are dead”42 (p. 294). The bearded man identifies himself as Ezechiel,43 an Anabaptist. Ezechiel tells Jung that he and the other Anabaptists44 are wandering because they must make a pilgrimage to all of the holy places. Jung asks “What drives you to this?” (p. 294). A striking dialogue follows: Ezechiel: “I don’t know. But it seems that we still have no peace, although we died in true belief.” Jung: “Why do you have no peace if you died in true belief?” Ezechiel: “It always seems to me as if we had not come to a proper end with life.”

42

Jung documented this encounter with the dead on January 17, 1914. It seems to prefigure what he would later record as “The Seven Sermons to the Dead” on January 30, 1916, nearly two years later (2009, p. 346). 43 Jung (2009) identified Ezechiel as “the uncanny one” in the Draft (p. 294, n. 172). Ezechiel was also a visionary prophet described in the Old Testament. Jung (1952/1969a) viewed Ezechiel’s encounter with the archetype of the self on par with the Buddha’s embrace of the purusha-atman doctrine, which occurred around the same time (fifth century BCE.) (CW11, para. 666). In Appendix A, I suggest that one of the faces may depict Ezechiel. 44 The Anabaptists were a 15th century religious movement, who were persecuted for their belief in in regards to the practice of baptism. Thousands of Anabaptists were massacred because of their beliefs and thus were unable to achieve their fullest potential. This seems to be why Jung named the dead Anabaptists.

238 TREASURE HUNTING Jung: “Remarkable—how so?” Ezechiel: “It seems to me that we forgot something important that should also have been lived.” Jung: “And what was that?” Ezechiel: “Would you happen to know?” (p. 294) Ezechiel does not know because he is dead and his knowledge is delimited to the temporal bounds of his once earthly life.45 He suddenly reaches out toward Jung, who observes that his eyes are “shining as if from inner heat” (p. 294). Jung says: “Let go, daimon, you did not live your animal”46 (p. 294). Jung looks up to realize that the cook has taken him by the arm: She asks: “Help, what’s wrong with you? Are you in a bad way?” (p. 294). Jung comes to and wonders where he really is. Two policemen abruptly burst into the kitchen and arrest Jung prior to escorting him to the madhouse. Upon arriving, Jung encounters a superintendent and two doctors who question him suspiciously. One of the doctors, a fat professor, diagnoses Jung with a form of religious madness before posing the question: “Do you hear voices?” (p. 295). Jung replies: “You bet! Today it was a huge throng of Anabaptists that swarmed through the kitchen” (p. 295). This is a peculiar description and evokes a passage from The Odyssey: “Then the souls of the dead came thronging up from Erebus” (1960, p. 174). Jung indicates that it was he who, like Odysseus, summoned the voices (i.e., the dead) (p. 295).

45

Jung (1961/1989) further articulated his views on this topic in chapter 11 of Memories, Dreams, Reflections. 46 Reference page 50 and page 230 in the ETH Lectures.

239 TREASURE HUNTING The professor attributes the symptoms to auditory hallucinations and a paranoid form of dementia praecox (i.e., schizophrenia). Jung rejects the diagnosis. “With all due respect, Professor, may I say that it is absolutely not abnormal, but much rather the intuitive method” (p. 295). Jung’s words reinforce the professor’s diagnosis that he is mad. Jung tells the professor that he is not mad. The professor brushes Jung’s comments aside before agreeing to let Jung keep his copy of The Imitation of Christ. Jung is bathed and taken off to the ward with the other mentally ill patients. Jung gets into a bed and finds himself between two other patients, one to his left and one to his right.47 The said motif evokes the image of Christ on the cross. Jung indicates that The Imitation of Christ led him to the master himself: Christ. Jung equates the “mercy of God” (p. 295) with the highest law of action, which suggests the Eastern religious teaching of karma. The fact that Jung evidently relied on Eastern ideas in early works like Liber Novus should be noted as they seem to have influenced image 169, which we will discuss in the following chapter. At this point, Jung seems to find himself in his soul, a psychic storehouse of personal and objective images. Jung suggests that the mystery of chaos—an unending multiplicity of figures that have an overwhelming effect because of their fullness— resides just beyond his walls. Jung likens this multiplicity of figures with “the dead” (p. 296). Jung proceeds to make an important observation: These figures are the dead, not just your dead, that is, all the images of the shapes you took in the past, which your ongoing life has left behind, but also the thronging dead of human history, the ghostly procession of the past, which is an

47

Jung (1952/1969a) viewed this picture as an apt representation of the central psychological problem in Christianity, one of reconciling the opposites (CW11, paras. 659, 739).

240 TREASURE HUNTING ocean compared to the drops of your own life span. I see behind you, behind the mirror of your eyes, who moan and hope to gather up through you all the loose ends of the ages, which sigh in them. Your cluelessness does not prove anything. Put your ear to that wall and you will hear the rustling of their procession. (p. 296) Jung suggests that the dead are still with us and that in a paradoxical way the living and the dead have a symbiotic relationship. Jung proceeds to break the fourth wall addressing the reader directly: “Have you heard of those dark ones who roamed incognito alongside those who ruled the day, conspiratorially causing unrest? Who devised cunning things and did not shrink from any crime to honor their God?” (p. 296). The dark ones suggest a kind of shadow people (i.e., shades). Jung identifies Christ as one of them, the greatest one of them. Jung observes that Christ broke himself rather than the world, whereas others, literal hordes, are broken by force rather than themselves. It was these dark ones that forgot only one key thing, that they did not live their animal. Jung seems to equate the animal part of man as essential to what he will later call individuation. The Buddhist term middle way, another term that Jung uses more than once, seems analogous to Jung’s individuation process. “The animal lives fittingly and true to the life of its species, neither exceeding nor falling short of it” (p. 296). Living one’s animal suggests an affirmation of life, similar to Nietzsche’s teaching in On the Genealogy of Morality. In the context of Jung’s psychology, it suggests two things, exercising all of the functions of consciousness and becoming an individual. By living a life according to one’s nature one can redeem the dead who strive to vicariously experience life through the living. Jung then writes the following: “Live the

241 TREASURE HUNTING life of the day and do not speak of the mysteries, but dedicate the night to bringing about the salvation of the dead” (p. 296). Jung again returns to the motif of compensation. The living compensate for the dead and vice versa: “Every step upward will restore a step downward so that the dead will be delivered into freedom” (p. 296). Jung seems to be referring to a new creation, which is described in Romans 8:21-22.48 Evil seems to be reconciled in this new creation. Jung further states: “Break the Christ in yourself so that you may arrive at yourself and ultimately at your animal which is well-behaved in his herd and unwilling to infringe its laws” (p. 296). And then Jung declares: “The number of the unredeemed dead has become greater than the number of living Christians; therefore it is time that we accept the dead” (p. 297).49 Jung seems to combine Christ’s law of love with a new law, which aptly summarizes his central message: “Not one title of Christian law is abrogated, but instead we are adding a new one: accepting the lament of the dead” (p. 297, n. 187). A close reading of the text suggests that everyone should accept the work of salvation for the dead. We inherit the role that Christ began, and become Christs rather than Christians, water bearers rather than unconscious fish.50 Jung further suggests that the Christian law of love will bring about redemption by restoring the lower and the past, which evokes the concept of the collective unconscious. Jung opines that the redemption of the dead is possible under the rule of

The Biblical verses read as follows: “that the creation itself will be liberated from its bondage to decay and brought into the freedom and glory of the children of God. We know that the whole creation has been groaning as in the pains of childbirth right up to the present time” (Romans 8:21-22). 49 The Population Reference Bureau estimates that the number of people that have lived at approximately 108 billion. The current living population—seven billion—makes up about 6% of the said figure (October 2011). http://www.prb.org/Publications/Articles/2002/HowManyPeopleHaveEverLivedonEarth.aspx 50 Jung believed that civilization was transitioning into a “new age” (i.e., the age of Aquarius) that coincided with the end of the Piscean age. 48

242 TREASURE HUNTING love. The living seem to have the capacity to redeem the dead through their actions in the present, which suggests a kind of karmic balancing mechanism. Jung points out the blindness that plagues modern man in that we are not inclined to serve the invisible. Jung seems to underscore the overvaluing of extraversion in Western culture. Jung equates such inner work with hidden work. For rarely if ever is there an immediate return on investment for doing work that does not visibly or practically serve men. Jung suggests that one must do the hidden work for the sake of the dead. Jung equates the fulfillment of the inner work of the soul with the atonement of the dead. To hear the voices below and beyond, one must look into one’s self. Jung associates the hidden work to the example of Christ, who “ascends with a few of the living, but many of the dead. His work was the salvation of the despised and lost, for whose sake he was crucified between two criminals” (p. 297). Jung returns to his immediate situation between the two madmen and ponders the parallel between himself in bed flanked by two madmen and Christ crucified between two criminals. “What the ancients did for their dead!” Jung declares. He concludes by saying that he accepted the chaos—the multiplicity of the dead—and his soul approached him the following night. Jung’s soul encourages madness because it comprises a part of Jung’s nature and identifies madness as a special part of the spirit. Jung’s soul suggests that “Life itself has no rules” (p. 298). Jung feels compelled to disagree with his soul, who responds matterof-factly: “You have nothing to disagree with—you are in the madhouse” (p. 298). Jung sees the fat professor and thinks he may have confused him for his soul. The professor tells Jung he is confused. Jung asks himself whether he is really crazy. The professor tells Jung to have patience and that everything will work out. Jung makes out a large steamer

243 TREASURE HUNTING out of the nocturnal tide, on which he is on board. Jung is just about to enter the smoking parlor when he encounters people dressed in beautiful clothes. A random person asks Jung: “What’s the matter?” You look just like a ghost! What happened?” Jung responds: “Nothing—this is—I believe that I have gone crazy—the floor sways—everything moves—” (p. 298). Jung realizes that he is on a ship and is perplexed by the change of scenery. Jung looks around to see the fat professor sitting down at a table playing cards. The professor mistakes him for someone else. Jung says to the professor: “Professor, for me this is no longer a joke. Just now I was your patient—” (p. 298). The parlor then erupts in laughter. Ezechiel appears and speaks to Jung: “Something worse happened to me, it’s five years now that I’ve been here” (p. 298). Jung realizes that Ezechiel is actually his neighbor in the ward and is now sitting on Jung’s bed. Ezechiel begins a nonsensical tirade: “But I am Nietzsche, only rebaptized, I am also Christ, the Savior, the appointed to save the world, but they won’t let me” (p. 298). Jung asks “Who won’t let you?” (p. 298). Ezechiel responds “The devil” before he adds: “We are in Hell. But of course, you haven’t noticed it yet. I didn’t realize until the second year of my time here that the director is the devil” (p. 298). Ezechiel continues to babble nonsense that is sprinkled with mythological allusions. Jung observes that what Ezechiel has told him is pure mythology. Ezechiel counters: “You’re crazy and understand nothing of it” (p. 298). Jung has a series of spontaneous visions that contain rich mythological motifs. Jung’s words evoke Dante’s Divine Comedy, when Jung says he hears a strange voice whisper: “There is no salvation here” (p. 299). Jung says: “I couldn’t find the way.” Ezechiel responds: You don’t need to find a way now” (p. 299). Jung realizes that he speaks the truth:

244 TREASURE HUNTING The way, or whatever it might be, on which people go, is our way, the right way. There are no paved ways into the future. We say that it is this way, and it is. We build roads by going on. Our life is the truth that we seek. Only my life is the truth, the truth above all. We create the truth by living it. (p. 299) Jung suggests that on that night all the dams broke. In chapter 17, “Nox Quarta,” Jung hears the roaring of the morning wind, which comes from the mountains. Jung’s soul speaks to him, suggesting that “Airy passages should be built up between all opposed things” (p. 302). His soul says that “Life should proceed, from birth to death, from death to birth, unbroken like the path of the sun. Everything should proceed on this path” (p. 302). Jung encounters a gray worm,51 which begins to laugh. Jung awakens from his dream to see the fat cook standing before him. She comments that he has slept for more than an hour. Jung appears disoriented and asks the cook “if this is really the realm of mothers?”52 (p. 302). Jung realizes that the majority of events depicted in the previous two chapters were part of a dream. The cook offers Jung a glass of water, which he accepts. Jung looks down to see that the book, The Imitation of Christ, is opened to the twenty-first chapter, where it reads: “My soul in everything and yet beyond everything, you must find your rest in the Lord, for he is the eternal rest of the saints” (p. 302). Jung converses with the cook, asking her who she cooks for. She tells Jung that she is the librarian’s cook. Jung says goodbye to the cook and departs the kitchen for the library. Jung asks the librarian whether he has ever had an incubation sleep in his kitchen. The librarian replies no. Jung

51

The worm is an allusion to Satan, or put another way, everything that is wrong with the world, every blemish, every wrinkle, and every mark of imperfection and ugliness that characterizes the world. 52 The term “realm of mothers” comes from Goethe’s Faust, which Jung likely meant as an allusion to the collective unconscious.

245 TREASURE HUNTING departs the library and goes outside into the anteroom with green curtains. Jung pushes the green curtains back to reveal a high-ceilinged hall accompanied by a magnificent garden that evokes the image of Klingsor’s magical garden. Jung realizes that he has entered a theater. Jung watches as a dramatic portrayal of Wagner’s Parsifal unfolds before his eyes. Parsifal depicts the Grail legend.53 As discussed in chapter 4, Parsifal played a prominent role in Jung’s personal myth. Jung transitions into a monologue wherein he ponders the paradox of opposition and otherness. Jung alludes to the relationship between man and God. After much thought, Jung prepares the way for God’s doing. Jung speaks about the state of the dead while alluding to Odysseus’ offering to Erebus (i.e., Hades). Jung refers to the love for the dead and relates the story of the Prophet Elisha who by laying himself upon a child’s body and brings him back to life, effectively awakening him from his unconscious slumber. Jung writes: “One wakens the dead with this pleasure” (p. 304). Jung further suggests that it “is the son of the earth, the dark one whom you should awaken” (p. 304). Something momentous apparently happens, for Jung declares: “Amen, it is finished” (p. 304). Jung equates the event with Good Friday, and suggests that “we complete the Christ in us and we descend to Hell ourselves” (p. 304). Jung says that to complete the Christ in ourselves we must first journey to hell. Jung further describes the alchemical process of the descensus ad inferos.54 Jung proceeds to identify a nameless

53

The Grail legend was a subject of profound interest for both Jung and his wife Emma, who, with the assistance of Marie Louise von Franz, wrote a book on it. Jung (1961/1989) imagined himself as Parsifal, which likely accounts for the appearance of the “youthful supporter” in Liber Novus (p. 215). 54 Jung (1946/1966) described the descensus ad inferos as “a descent into Hades and a journey to the land of ghosts somewhere beyond this world, beyond consciousness, hence an immersion in the unconscious” (CW16, para. 455). Jung (1938/1969) added: “The three days’ descent into Hell during death describes the sinking of the vanished value into the unconscious, where, by conquering the power of darkness, it establishes a new order, and then rises up to heaven again, that is, attains supreme clarity of consciousness” (CW11, para. 149).

246 TREASURE HUNTING one, “who does not know himself and whose name is concealed even from himself” (p. 304). The nameless one55 is an Anabaptist and a stranger. Jung alludes to the dark one again. In chapter 20, “The Way of the Cross,” Jung encounters a black serpent, which he describes as “the serpent of my way” (p. 309, n. 251). The serpent wraps itself around a wooden cross and proceeds to creep into the body of the crucified.56 Upon exiting the mouth of the crucified, the serpent has turned white. A white bird perches on Jung’s shoulder and says to him “Let it rain, let the wind blow, let the waters flow and the fire burn. Let each thing have its development, let becoming have its day” (p. 310). Jung mentions Nietzsche—calling him a prophet—by making a reference to the Last Supper. “Ultimately; however, he [Nietzsche] was forced to celebrate a Last Supper with his own poverty and to accept these forms of his own essence out of compassion, which is precisely that acceptance of the lowest in us” (p. 310). The Last Supper refers to a scene in Thus Spoke Zarathustra wherein the protagonist, Zarathustra, dines with nine figures in his cave and preaches to them about the death of God and the importance of over-coming oneself, which intimates the concept of the overman. According to Nietzsche, the overman accepts the lowest in oneself, which includes both joy and suffering, poverty and indulgence. Acceptance of the lowest seems to suggest a descent into the animal world of the instincts. Although domesticated by culture, instinct still comprises a significant portion of one’s wholeness. Zarathustra’s Last Supper seems to compensate for the Last Supper described in the Bible (Matthew

55

The nameless one presumably refers to Philemon. This passage suggests the motif of the bronze serpent mentioned in the Old Testament (Numbers 21:9). Jesus identified himself with the serpent of Moses (Jung, 1954/1967, CW13, para. 137). 56

247 TREASURE HUNTING 26:17-30, Mark 14:12-25, Luke 22:7-20). Whereas Christ encouraged his apostles to partake in bread and wine as a symbolic gesture of eventual eternal life in the kingdom of God, Zarathustra presents a path into the lowest, back into the depths of the base instincts. Nietzsche was critical of Christian morality, which he viewed in many regards as life-denying and unnatural. The suppression of the instincts forms a major pillar of Nietzsche’s critique of Christianity. Jung describes Nietzsche’s fate as follows: “Ultimately the lowest in him got to him, his incapacity, and this crucified his spirit, so that, as he himself had predicted, his soul died before his body”57 (p. 310). In this chapter, Nietzsche’s influence on Jung is obvious. Jung cites Nietzsche’s philosophy throughout with an emphasis on Nietzsche’s key work, Thus Spoke Zarathustra, which Jung reread in November 1914 during his confrontation with the unconscious. Jung suggests that “The herd animal is not his brother’s parasite and pest” (p. 310). “Man,” says Jung, “you have even forgotten that you too are an animal” (p. 310). Jung suggests that a person can offer no more satisfying sacrifice to the God than himself. Jung is suggesting that people need to live their own lives and be who they are. Jung briefly distinguishes between a symbol and a sign. “If the word is a sign, it means nothing. But if the word is a symbol, it means everything” (p. 310). Jung further suggests that “one creates inner freedom only through the symbol” (p. 311). Jung views the symbol as tantamount to a gateway. “Salvation is a long road that leads through many gates. These gates are symbols” (p. 392).58 According to Jung, the symbol cannot be

57

Elsewhere, Jung (2009) referred to Nietzsche as a blind spokesman of the dead (p. 297, n. 185). Jung’s (2009) comparison of symbols with gateways parallels a central idea found in the seventh sermon of the dead, that “Man is a gateway” (p. 354). Philosopher Ernst Cassirer viewed human beings as animal symbolicum and scholar of religious history Mircea Eliade similarly suggested that man is a “homo symbolicus” (as cited in Wasserstrom, 1999, p. 91). 58

248 TREASURE HUNTING thought up or found, for it simply becomes. Symbols are incubated in the womb of the human psyche. While discussing God, Jung returns to the concept of the middle way. Jung writes that God “wants the middle way. But the middle is the beginning of a long road” (p. 311). Jung indicates that something new is being born. “The task is to give birth to the old in a new time. The soul of humanity is like the great wheel of the zodiac that rolls along the way” (p. 311).59 Jung continues: “There is no part of the wheel that does not come around again” (p. 311). Jung is referring to the aeons (i.e., ages) that coincide with the Platonic months. Jung also alludes to the then-nascent idea of archetypes: “For these are all things which are the inborn properties of human nature” (p. 311). Jung implies that there is a definite archetypal connection between the past and the future and he writes: “Futurity grows out of me; I do not create it, and yet I do, though not deliberately and willfully, but rather against will and intention” (p. 311). He further contends that “The ancients devised magic to compel fate. They needed it to determine outer fate. We need it to determine inner fate and to find the way that we are unable to conceive” (p. 311). Still unsatisfied with the lack of answers, Jung begins to journey to a far country where there lives a great magician. In chapter 21, “The Magician,” Jung finds a small house in the country. The house is the residence of Philemon and his wife Baucis.60 Jung identifies Philemon61 as a

59

This passage refers to the ecliptic. Philemon and Baucis originally appear in Ovid’s Metamorphoses. Goethe would later incorporate these characters into his Faust mythos. 61 As suggested, there are mythological and literary parallels to Philemon; however, to Jung Philemon means more than a particular myth or a literary character. Philemon represents an archetypal principle and seems to originate from the earth. Jung indicated that Philemon is a polymorphous being that arose from Atmavictu (i.e., breath of life). Atmavictu first appeared in Black Book 6 on April 25, 1917. Jung also described Atmavictu as a kobold, a subterranean nature spirit that likely originated from the same myth that produced cabiri and gnomes. Image 122 depicts Philemon/Atmavictu as a kobold with distinct ears. In 60

249 TREASURE HUNTING magician who is not able to banish old age, but accepts it with dignity, along with his wife. Jung observes that Philemon’s magical rod resides in a cupboard along with the sixth and seventh books of Moses, which deal with Kabbalistic magical spells.62 Jung tells Philemon he wishes to learn magic. Philemon, although hesitant, agrees. He proceeds to teach three central points about magic to Jung: 1) that magic does not follow ordinary understanding, 2) “that magic is the negative of what one can know” (p. 313), and 3) that there is nothing for Jung to understand (p. 313). Jung suggests that “It is an error to believe that there are magical practices one can learn” (p. 403). Jung adds that the reason of the modern era has supplanted magic. Jung writes: “The practice of magic consists in making what is not understood understandable in an incomprehensible manner” (p. 314). After declaring that “Magic is a way of living,” (p. 314), Jung suggests that magic takes place when a greater other, presumably the self, asserts its influence. Jung adds that he must unite “the two conflicting powers” of his soul, which he associates with the marriage of Philemon and Baucis. He states he must “keep them together in a true marriage until the end of my life, since the magician is called Philemon and his wife Baucis” (p. 314). Jung returns to the idea of Platonic months and alludes to the end (circa 4,400 BCE.) of the month of the twins (i.e., Gemini). Jung suggests that the age of Pisces63 coincides with Christ and that their symbolism implies a split of consciousness or libido.

1920, Jung carved a shape from wood that he called Atmavictu, which he later duplicated in stone and placed it in his garden at Kusnacht. Jung indicated that the fantasy originated from his childhood dream depicting an enthroned phallus (1961/1989, p. 23; 2009, p. 303, n. 202). Philemon also indicated that he assumed the form of Izdubar (2009, p. 305, n. 232). 62 Ironically, after Jung’s death Liber Novus was stored in a cupboard at his residence in Kusnacht, Switzerland until it was transferred to a Swiss bank vault in 1984. 63 The time period associated with the Piscean aeon is a matter of debate with considerable disagreement in regards to when the age begins and when it will end. For an approximation, one could tentatively use the year 1 CE and 2150 CE as a range.

250 TREASURE HUNTING One half was directed below (Satan) while the other half above (Christ).64 There is a compensatory relationship between the upper and lower worlds. Jung suggests that the two will eventually be brought together in a future aeon, Aquarius.65 Jung opines that culture and civilization are products of the tension caused by the opposites. In the Draft, Jung suggests that whereas Christ taught man the way to heaven, but “we”—presumably Philemon through Jung—teach the way to earth, (p. 315, n. 276), which implies a reversion into the underworld.66 Jung subsequently contrasts the role of Philemon from the role of Christ (p. 315). Jung suggests that Philemon is a teacher and friend of the dead (p. 316). Jung then alludes to a blue shade that he saw Philemon speaking to, who he identifies as Christ. The serpent disappears into the depths and informs Jung that she has found a hanged man in hell. With his serpent as interlocutor, Jung proceeds to have a conversation with the hanged man. The hanged man tells Jung that he is condemned for having poisoned his parents and wife. When Jung asks him why he did it, he says to honor God. The hanged man suggests that everything he did was for the honor of God. The hanged man tells Jung that he did it to preserve his relationship with his children and implies there were limited resources. The man was later hanged for his acts. The hanged man says that his wife sometimes speaks to him in hell. Their conversations are sporadic and usually deal only in trivial matters. The hanged man tells Jung that there is no time where he is. When Jung asks the hanged man about the devil and torment, he says that he

64

See footnote 14 above. Jung (1961/1989) discussed the meaning of the symbolism of Aquarius in his autobiography (p. 339). 66 In a sense, one could say that Philemon represents a reversion of libido into the underworld, or viewed psychologically, into the unconscious. Philemon’s message seems intended to complement Christ’s teaching rather than supplant it. Liber Novus suggests that Philemon is the herald of the son of the earth (Jung, 2009, p. 304, p. 305, p. 320, p. 327). Jung identified the son of the earth as HAP, a god of the underworld, reference footnote 86 below. 65

251 TREASURE HUNTING has never seen him. The hanged man indicates that the real world and the present mean very little to him now. “Everything here is impersonal and purely matter of fact” (p. 322). The hanged man vanishes. Jung turns his attention to his serpent soul. He asks: “But is the beyond so colorless?” (p. 322). The serpent responds that it seems that there is nothing personal whatsoever in the beyond. The serpent and Jung discuss some other aspects about the beyond before the serpent concludes by making a peculiar declaration: “I believe the dead will soon become extinct” (p. 322). Shamdasani (2010) commented on this section in his presentation on Liber Novus at the Library of Congress. The scene is noteworthy in that it suggests that not much occurs in hell. In fact, the scene presents hell as a rather dull and boring place. Absent the tension of opposites and the light of consciousness, most activity in hell is at a standstill; and the dead can do very little but listlessly await answers from the living. Jung suggests that the devil would have had his grip on him if he were not able to unite himself with his serpent. Jung’s serpent seems to make him immune to the devil’s influence. Jung (2009) further states that by accepting his serpent, he accepted the demands of the dead (p. 323). Jung implies that by doing so he has also “taken over something of the dead into my day” (p. 323). Jung goes on to say that So long as I wanted to satisfy only my own demands, I was personal and therefore living in the sense of the world. But when I recognized the demands of the dead in me and satisfied them, I gave up my earlier personal striving and the world had to take me for a dead man. (p. 323) Jung suggests that the dead and living comprise both a complementary and compensatory relationship, which he puts in terms of personal and impersonal. The foregoing

252 TREASURE HUNTING observation is important to the research question because Liber Novus is gradually building up to image 169. Jung had explored his own psychocosmology and further explicated the meaning of his personal myth through a relationship to the dead, his dead. As discussed in chapter 3, image 169 consists of 127 faces and skulls crowded around what could be interpreted as either a star-like orb or a lotus-flower, which emits the colors of the rainbow. The principal motifs suggest the relationship between the living and the dead through the process of individuation. The fact that certain faces resemble actual historical figures and Jung’s family members indicate that Jung was trying to express something very specific in regards to his relationship to the dead.67 The four colors evinced by the rainbow burst are also significant to the individuation process and the four functions of consciousness, as I will show elsewhere. Again, Liber Novus seems to lay the groundwork for what Jung later depicted in image 169 and by extension the apocatastasis of the dead. The serpent tells Jung that nothing is yet accomplished and that it is but the beginning. Jung asks the serpent, “If even the dead are about to become extinct, what else is going to happen?” The serpent answers: “But then the living must first begin to live” (p. 323). Jung is skeptical but the serpent maintains that “Life has yet to begin” (p. 323). Jung is confused and does not understand what the serpent means. The serpent tells Jung that regardless of his lack of knowledge, he is entitled to a reward for what he has accomplished thus far. The serpent says: “I give you payment in images. Behold” (p. 323).

67

For additional hermeneutic elaboration on the faces in image 169, see Appendix A.

253 TREASURE HUNTING To Jung’s surprise, Elijah and Salome appear. Elijah leads Salome by the hand. Elijah tries to give Jung Salome. Jung tells Elijah he is already married. Elijah asks Jung “Won’t you accept her love as the well-deserved payment for your trouble?” (p. 323). Jung admits that he loves Salome however he points out that his love for her was pressed out of him, alluding to the serpent coiling around him in chapter 9 of Liber Primus. Jung thanks Salome for her love. It becomes clear that Jung still feels as though he is crucified. Salome asks him why and he responds: “Don’t you see that unrelenting necessity has flung me onto the cross? It is impossibility that lames me” (p. 324). Salome replies: “Don’t you want to break through necessity? Is what you call a necessity really one?” (p. 324). Jung suggests to Salome that they can never have a relationship like the one she wants. Salome feels slighted, but she maintains her love for Jung: “Your words are terrible. But I love you so much that I could also lay myself aside when your time has come” (p. 324). Jung responds: I know that it would be the greatest torment for me to let you go away. But if you can do this for me, I can also do it for you. I would go on without lament, since I have not forgotten the dream where I saw my body lying on sharp needles and a bronze wheel rolling over my breast, crushing it I must think of this dream whenever I think of love. If I must be, I am ready. (p. 324)68 Salome insists that she does not want sacrifice but wants to represent joy for Jung. Salome pleads for Jung to accept her. Jung tells her: “I lack the strength to hoist another fate onto my shoulders. I have enough to carry” (p. 324). Salome suggests that she will

68

This passage is striking in that it references image 127, indicating that it is a dream. Image 127 consists of a squared circle with four different scenes, one of which depicts Jung (2009) lying on sharp needles. Each quadrant in the image suggests one of the four functions of consciousness (p. 324).

254 TREASURE HUNTING help him bear the load. Jung rejects Salome’s offer and Elijah agrees with Jung: “You speak the truth. May each one carry his load. He who wants to burden others with his baggage is their slave. It is not too difficult for anyone to lug themselves” (p. 324). Jung declares that he can bear neither slaves nor masters, do not belong to me but to yourself” (p. 324). Jung turns to Elijah and tells him he should not try to give away his daughter but that she should stand on her own feet. Jung thanks Salome for her love and tells her that if she really loves him to dance before the crowd to please people. Salome is puzzled by Jung’s words. Elijah observes that Jung has changed since they last met. Jung comments that Salome and Elijah have changed as well. Jung asks what became of the serpent. Elijah tells Jung that he thinks the serpent was stolen and that it has been gloomy without the company of the serpent. Jung tells Elijah that he now has the serpent whom he fetched from the underworld. Jung suggests that he needs the serpent in the upper world. Elijah says: “Away with you, accursed robber, may God punish you” (p. 324). Jung tells Elijah that his curse is powerless. Before they part, Jung tells Salome, “for the sake of our love, do not forget to dance” (p. 324). Jung declares that the completion of the “secret operation” approaches. Jung writes that “The beginning of all things is love, but the being of things is life” (p. 448).69 Jung refers to the concept of enantiodromia and says “Will there be a sea where Philemon’s temple stands?” (p. 327).70 After contemplating what has transpired, Jung says that his soul gave birth to a monster, which Jung describes as “frightful This passage alludes to Hesiod’s Theogony (2009, p. 327, n. 340). The passage alludes to Goethe’s (1832/2000) Faust Part II. As indicated in chapter 2, Faust dispatched Mephistopheles and three giants to remove Philemon and Baucis from their land. Instead, Mephistopheles burns down their cottage with them inside. Jung (1961/1989) consciously associated his own legacy with a continuation with the Faust legend (p. 235). In 1942, Jung (1973) wrote in a letter “I have taken over Faust as my heritage, and moreover as the advocate of Philemon and Baucis, who, unlike Faust the superman, are the hosts of the gods in a ruthless and godforsaken age” (pp. 309-310). 69 70

255 TREASURE HUNTING miscreant” and a “newt’s brain” (p. 327). It is revealed that Jung is referring to Philemon who has been masquerading under a different guise. Jung suggests that Philemon impregnated his soul with the “terrible worm” (p. 327). In fact, Jung reveals that Philemon was the one behind all of his recent trials and tribulations. Jung goes on to say: You gave me the force of magic, you crowned me, you clad me with the shimmer of power, that let me play a would-be Joseph father to your son. You lodged a puny basilisk in the nest of the dove. (p. 327) Jung calls his soul adulterous. He indicates that the product of the conception will be the son of the frog, which is an allusion to Abraxas,71 the new God. Scrutinies Jung begins Scrutinies72 by railing against his ego.73 Jung distinguishes his ego from his soul who he comments is “with the fire worm, with the son of the frog, who has flown to the heavens above, to the upper sources” (p. 333). Jung admits he cannot rid himself of his ego: “For I want to get along with you—I must—damn you—you are my I, which I must carry around with me to the grave” (p. 333). Jung suggests that God has died74 and adds that no God of love has risen, “but instead a worm of fire crawled up, a magnificent frightful entity that lets fire rain on the earth, producing lamentations” (p.

In Jung’s cosmological system, Abraxas, the son of the frogs, is the ruler of the world. Abraxas was a Gnostic symbol whose number was 365, which correspond to the number of days in a year. In this way, Abraxas was a time god. Viewed psychologically, Abraxas is a reconciling symbol. Jung describes his qualities in “The Seven Sermons to the Dead.” 72 Scrutinies is the most introspective of the three books. Jung recorded its contents in the Black Books between April 19, 1914 and June 1, 1916. Due to the outbreak of the war and professional obligations, Jung did not write in the Black Books between July 22, 1914 and June 2, 1915. Jung mentioned this gap of time in Liber Novus: “From there on the voices of the depths remained silent for a whole year” (p. 226). During this time period, Jung wrote the Handwritten Draft (2009, p. 336) of Liber Primus and Liber Secundus. 73 His criticisms seem related to the direction his I (i.e., ego) has guided him between 1901 and 1913. 74 This is in reference to Nietzsche’s contention that “God is dead.” 71

256 TREASURE HUNTING 333). Jung observes that his ego’s God “has become a fiery worm with a flat skull who crawls red-hot on the earth?” (p. 333). Jung’s soul proceeds to make some peculiar observations which seem to underscore the relationship between the living and the dead: “Do not be angry, do not complain. Let the bloody victims fall at your side. It is not your severity, it is not your cruelty, but necessity. The way of life is sown with fallen ones” (p. 335). Jung’s ego feels overwhelmed by the burden bestowed upon it. “Why should I not grown and moan? I load myself with the dead and cannot haul their number” (p. 335). Jung responds to his ego with a quote from the New Testament: “let the dead bury the dead” (p. 335).75 Jung’s ego complains: “But I pity the poor fallen ones, they cannot reach the light. Perhaps if I haul them—?” (p. 335). Jung indicates that the souls of the dead accomplished as much as their fate allowed. The aforementioned passage is relevant to the main premise of the apocatastasis of the dead. Fate in this context could be viewed as a Western equivalent to karma in the East. Jung suggests that the dead are limited to the knowledge that they gained during their earthly life and thus require the consciousness of the living to further advance their development. Jung further suggests that mere belief is no longer adequate and that we need knowledge more than belief. Jung adds: “We need differentiating knowledge to clear up the confusion which the discovery of the soul has brought in” (p. 336). Jung’s soul reminds him that she has long predicted solitude for him. Jung feels torn between choosing the world or a solitary path. Jung’s soul says that he must accept his work.76

75

Matthew 8:22. On January 5, 1922, Jung’s soul stirred him from his sleep and said: “Now is no time to sleep, but you should be awake and prepare important matters in nocturnal work. The great work begins” (2009, p. 211). 76

257 TREASURE HUNTING An old man with a white beard and a haggard face suddenly approaches Jung. Jung asks what he wants, to which he replies: I am a nameless one, one of the many who lived and died in solitude. The spirit of the times and the acknowledged truth required this from us. Look at me—you must learn this. Things have been too good for you. (p. 336) Jung asks if what the nameless one77 means is another necessity. The nameless one suggests that Jung, as a man, must bleed for humanity and that he should discard his science and step towards the depths. The nameless one adds: “You must set to work” (p. 336). Jung is puzzled by these words. A few nights later Jung hears the voice of an old man: It is not yet the evening of days. The worst comes last. The hand that strikes best. Nonsense streams from the deepest wells, amply like the Nile. Morning is more beautiful than night. Flowers smell until they fade. Ripeness comes as late as possible in spring, or else it misses its purpose. (p. 336) After hearing these words, Jung explains that his ego “moaned and wailed about the burden of the dead that rested on it” (p. 336) and the sadness caused by the burden did not pass until June 24, 1914, and then he heard the voice of his soul: “The greatest comes to the smallest” (p. 336). Jung notes that the war broke out78 and he wrote that “This opened my eyes about what I had experienced before and it also gave me courage to say all of that which I have written in the earlier part of this book” (p. 336). Jung indicates that the voices of the depths remained silent for an entire year. After a lengthy hiatus, Jung picks up where he left off on September 14, 1915. Jung hears

77 78

Presumably Philemon. World War I broke out on August 1, 1914.

258 TREASURE HUNTING a voice that he identifies with Philemon. Philemon speaks to Jung and suggests that Hermes is his daimon (p. 337, n. 25).79 Philemon speaks in metaphors and alludes to the symbolism of gold.80 Jung responds to Philemon: “What ambiguous speech, oh Philemon!” (p. 337). Philemon emphasizes his function and role as a teacher and departs. On the following night, September 19, 1915, Jung hears the voice of Philemon, who says: “Draw nearer, enter into the grave of the God. The place of your work should be in the vault. The God should not live in you, but you should live in the God” (p. 339). These words disturbed Jung because he desired to free himself from the God. Philemon, however, advised him to enter even deeper into the God. Jung observes that since the God81 ascended to the upper realms, Philemon was different. Jung then makes a curious admission: “Probably the most part of what I have written in the earlier part of this book was given to me by Philemon” (p. 339). Jung observes that at the time Philemon was not distinct from him. The foregoing passage suggests that Philemon gradually emerged out of Jung’s own unconscious as a living image that demonstrated the objectivity of the psyche. A few weeks later three shades approached Jung, one of which was female. The female shade produced a soft whirring sound or what Jung describes as “the whirring of the wings of the sun beetle” (p. 339).82 Jung identifies her as an Egyptian mystic. She says to Jung: “It was night when I died—you still live in the day—there are still days, years ahead of you—Let me have the word—oh, that you cannot hear! How difficult—

Jung (1948/1967) considered Hermes or Mercury to be the “god of the unconscious” (CW13, para. 299). Jung (1955-1956/1963) will later write about the symbolism of gold in Mysterium Coniunctionis (CW14, para. 6). 81 Jung seems to be referring to Phanes. 82 It is noteworthy that the dead’s arrival is usually announced by a particular kind of noise. 79 80

259 TREASURE HUNTING give me the word!” (p. 339). Jung responds incredulously and she replies: “The symbol, the mediator, we need the symbol, we hunger for it, make light for us” (p. 339). Jung tells her he does not know which symbol she is referring to. The shade insists: “You can do it, reach for it” (p. 339). At that moment, a phallus-shaped symbol appears in Jung’s hand. The shade indicates that the symbol represents HAP.83 She identifies it as the God’s other pole. “This is precisely the pole we needed” (p. 339). Jung asks the shade why she needs HAP and she says that “he is in the light, the other God is in the night” (p. 339). The shade says that HAP is a god of the body and adds that HAP “crawls around like a worm, like a serpent, soon there, soon here, a blind newt of Hell” (p. 339). HAP suggests the same subterranean daimon depicted in Jung’s (1961/1989) childhood dream (p. 12). As indicated in chapter 4, this figure played an important role in the development of Jung’s personal myth. Three days later, Jung (2009) summons the dead shade and says to her: “Teach me the knowledge of the worms and the crawling creatures, open to me the darkness of the spirits!” (p. 340). The shade asks Jung for his blood so that she may speak. She also asks Jung whether he was lying when he said he would leave the power to his son.84 Jung says he was not lying but that he merely did not understand. The shade replies

83

Shamdasani (2009) associates HAP with the Egyptian god Hapi, one of the four sons of Horus. However, in Egyptian mythology there is another god with virtually the same name, Hapy or alternatively Hap. Hapy is a fertility god of the Nile region. It is possible that Jung was referring to HAP as this god rather than the Baboon-faced son of Horus, who suggests a less important role than the god of the Nile. Hapy is also often associated with Osiris who was a son of Nut and one of principal gods of the Egyptian pantheon (p. 339, n. 44). 84 Jung’s soul seems to be referring to Phanes.

260 TREASURE HUNTING HAP is not the foundation but the summit of the church that still lies sunken. We need this church since we can live in it with you and take part in your life. You have excluded us to your own detriment. (p. 340)85 Jung replies “Tell me, is HAP for you the sign of the church in which you hope for community with the living? Speak, why do you hesitate?” (p. 340).86 She further demands blood and Jung acquiesces: “So take blood from my heart” (p. 340). The shade implies that she would like to return to earth through the living, through Jung. The shade further adds that she wants to complete what she set out to do during her life. She says “Give me blood, much blood!” (p. 340). Jung instructs the shade to drink. The shade responds with a whisper: “Brimo” (p. 340).87 The shade describes the relationship between HAP and other symbolic figures that play a prominent role in Jung’s individual cosmology—tree of life, bird-soul, etc. “HAP is the rebellion of the Below, but the bird comes from Above and places itself on the head of HAP” (p. 340). Jung, exasperated, asks about the terrible son who lives beneath him, under the trees on the water? “Is he the spirit that the heavens pour out, or is he the soulless worm that the earth bore?” (p. 340). Jung again alludes to the compensatory relationship between the heaven and earth, the God and humankind: “Should humanity thus

Within Jung’s own individual cosmology, HAP may refer to the enthroned phallus he encountered in a childhood dream (1961/1989, p. 12; 2009, p. 340, n. 49). One could view HAP as a sort of Dactyl. 86 The sign of HAP, a phallus, is described in “The Seven Sermons to the Dead” (2009, p. 352) and depicted in the Systema Munditotius (2009, p. 364). HAP is opposite of the Heavenly Mother in Jung’s cosmological system. Jung discusses the phallus as a creative power in Psychology of the Unconscious (1916/1991, CW Supp. Vol. B, para. 209). 87 Jung seemed to suggest that Brimo has a double meaning: Brimo as a deity of the underworld (i.e., Hecate, Persephone, etc.) and as an epithet that means “angry” or “furious.” Jung used the term to describe Demeter after Zeus had intercourse with her in the form of a bull, which caused her to transform into Brimo (i.e., Anger). Brimo is also mentioned in “Fragments of a Catabasis Ritual in a Greek Magical Papyrus.” Elsewhere Jung (1912/1967) wrote that “At the Eleusinian mysteries the hierophant proclaimed in a loud voice: ‘The great goddess has borne a divine boy, Brimo has borne Brimos’ ” (CW5, para. 530). 85

261 TREASURE HUNTING completely go to waste for divinity? Should I live with shadows instead of with the living?” (p 340). Jung suggests that the living should not be troubled with the burden of the dead. A shade (the dead one) responds by suggesting a symbiotic relationship between the living and the dead. Jung rails against the demands of the dead and the shade says that Jung should become a shadow so that he may grasp what they give. Jung tells the shade that he does not want to die. The shade replies that he does not have to die but only be buried. The shade suggests that all Jung must do is fulfil his task. She addresses Jung’s uncertainty by saying “It always begins with the neighbor. Where is the church? Where is the community?” (p. 341). Jung declares what the shade has said is pure madness and rejects his role as a prophet. The foregoing passages merit some additional commentary. That one need not die but only be buried is noteworthy because it suggests that life and death coexist along the same psychophysical continuum. The shade seems to be alluding a transtemporal condition beyond biological death, a continued existence in the unconscious. The shade says that she wants a church and that “The bridge should lead out beyond humanity” (p. 342).88 The shade then makes a curious statement: “There is a community of spirits founded on outer signs with a solid meaning” (p. 341). The shade adds “Community with the dead is what both you and the dead need. Do not commingle with any of the dead, but stand apart from them and give to each his due. The dead demand your expiatory prayers” (p. 342). The shade then invokes the dead in Jung’s name: “You shades of the departed, who have cast off the torment of living, come here!” (p. 341). Jung accedes and says: “Come, you dark and restless ones, I will refresh you

88

This passage refers to Nietzsche’s (1883/2003) conception of man as a bridge and not a goal (p. 44).

262 TREASURE HUNTING with my blood, the blood of a living one so that you will gain speech and life in me and through me” (p. 342). Jung indicates that the God compels him to address the dead, who for too long we have left alone. The shade adds: “Let us build the bond of community so that the living and the dead image will become one and the past will live on in the present” (p. 342). Again, the shade seems to be alluding to the central theme of Jung’s apocatastasis of the dead: that the unconscious represents a transtemporal state that is relative to the provisional construct of the space-time continuum in physics. Image 169 suggests a symbiotic relationship between the living ego (i.e., Jung) and the dead or the unconscious. Jung’s realization of his personal myth was instrumental to formulating this hypothesis, which can be found in his studies on psychic energy, Eastern philosophy, alchemy, and his theory of synchronicity. Jung compares his sacrifice of living blood to the Last Supper: “Come, celebrate a Last Supper with me for your redemption and mine” (p. 342). Jung seems to enter into a contractual agreement with the dead, which is suggested in the following passage: “You are my community. I live what I can live for the living. But the excess of my longings belongs to you, you shades. We need to live with you” (p. 342). The female shade tells Jung that the dead become blessed with the redeeming light” (p. 342).89 The shade tells Jung that the dead need the prayers of the living because they are still of human nature. She adds that “The history of humanity is older and wiser than you. Was there a time when there were no dead?” Before disappearing, she suggests that only recently have the living begun to forget their dead.

89

Light in this context likely symbolizes consciousness.

263 TREASURE HUNTING After the shade disappears, Jung looks up to see his bird soul in the upper realms, “hovering irradiated by the distant brilliance that streamed from the Godhead” (p. 342). Jung calls to his soul overhead and acknowledges his acceptance of his task. Jung suggests that he has now cast himself before human animals. Jung again alludes to the Last Supper and declares that the dead want to live from him (p. 342). Jung complains to his soul about the task before him. “Where do you get the right to do me such a foul deed?” (p. 342). Jung seems to consign himself to his mission: “Let my fate suffice and let men manage human destiny” (p. 342). When Jung alludes the pleroma—“emptiness and all fullness”—Philemon appears behind him. Thus speaks Philemon: The dead too want the same thing. Why don’t they stay quiet? Because they want to rule. They have not come to an end with their craving for power, since they died still lusting for power. A child, an old man, an evil woman, a spirit of the dead, and a devil are beings who need to be humored. (p. 342) Philemon refers to Jung’s soul as a treasure: “She is a hellish-divine treasure to be kept behind walls of iron and in the deepest vault. She always wants to get out and scatter glittering beauty” (p. 343). Philemon continues: “Shield men from her, and her from men. Listen to what she wails and sings in prison but don’t let her escape, as she will immediately turn whore. As her husband you are blessed through her, and therefore cursed” (p. 343). Philemon then makes a very puzzling comment: “She belongs to the daimonic race of the Tom Thumbs and giants, and is only distantly related to humankind” (p. 343).90 After Philemon’s lengthy monologue, Jung turns to his soul who has come

Jung’s personal mythology often references daimonic beings such as Giants and Cabiri, to include his soul. Jung interpreted mythological and religious allusions as daimonic forces which seem to give rise to a form of Psychological Daimonology. Mythological sources understand daimons as personified agents of nature that resided between humankind and the gods. According to Jung (1951/1968a), “The Greek words 90

264 TREASURE HUNTING nearer him. Jung says to his soul: “Have you heard what Philemon has been saying? How does this tone strike you? Is his advice good?” (p. 343). Jung’s soul responds: Do not mock, or else you strike yourself. Do not forget to love me” (p. 343). Jung’s soul suggests that she is prepared for a great journey and needs everything that Jung can give including his love and hate. Jung asks his soul if she agrees that he should throw her into a prison. His soul replies: “Of course” (p. 343), and adds that she can have peace there and collect herself. Jung’s soul states that there is redemption in her darkness. Jung’s dungeon suggests a place where she can “think about the journey, the rising sun the dead one spoke of, and the buzzing, melodious golden wings” (p. 344). Jung is frustrated with his soul, who leaves him with a feeling of bitterness. He levies accusations at his soul who responds: “Pity, have compassion” (p. 344). Jung, unmoved, makes additional accusations. His soul sobs and says she is horrified at Jung’s charges. Jung adds that he has learned through her how one behaves as a soul: “perfectly ambiguous, mysteriously untruthful and hypocritical” (p. 344). Philemon, who had stood silently a distance off, intercedes and speaks through Jung: “You are blessed, virgin soul, praised be your name. You are the chosen one among women. You are the God-bearer. Praise be to you! Honor and fame be yours in eternity” (p. 344). After Philemon ends his speech, Jung’s soul looks both saddened and pleased. She ascends again to the upper realms. Jung suspects that she was withholding something and spoke to her before she could leave. Jung asks his soul what she is hiding. Jung asserts that his soul has stolen something and she responds; “I haven’t taken anything” (p.

daimon and daimonion express a determining power which comes upon man from outside, like providence or fate, though the ethical decision is left to man” (CW9ii, para. 51).

265 TREASURE HUNTING 344). Jung accuses his soul of lying. Jung’s soul looks at him innocently and says: “I do not take anything away from you. I do not withhold anything from you. You possess everything, I, nothing” (p. 344). Jung repeats his accusation. Jung directs his soul to give back what she has stolen. Jung suggests that his soul has a gold jewel which he treasures. His soul finally acknowledges she has the jewel but says she does not wish to part with it. Jung soul begs him to let her keep the treasure. Jung then demands to know what the treasure is. She reveals the treasure, a gold jewel, to be “love, warm human love, blood, warm red blood, the holy source of life, the unification of everything separated and longed for” (p. 344). Jung says that he possesses a key, and rails against his soul and the gods. Philemon intercedes: Both God and man are disappointed victims of deception, blessedly blessed, powerlessly powerful. The eternally rich universe unfolds a gain in the earthly Heaven and the Heaven of the Gods, in the underworlds and the worlds above. Separation once more comes to the agonizingly united and yoked. Endless multiplicity takes the place of what has been forced together, since only diversity is wealth, blood, and harvest. (p. 345) A night and day pass and then Jung addresses his soul. Jung observes that his soul is still present and asks her why she has not left. Jung reminds his soul how he suffered for her. Jung’s soul finally speaks: Now then I want to set you to work. But you must build the furnace. Throw the old, the broken, the worn out, the unused, and the ruined into the melting pot. So that it will be renewed for fresh use. (p. 345)

266 TREASURE HUNTING Jung’s soul further instructs him to touch the Earth for the power of matter is great.91 Jung’s soul suggests that HAP originated from matter, which is his mother.92 HAP, according to Jung’s soul, is the son of the earth. Jung acquiesces to his soul and, as he explains, formed in matter the thoughts that she gave him. Not long after, Jung’s soul returns and approaches him uneasily. Jung’s soul tells him she sees a blazing fire coming nearer. Fire surrounds Jung. Jung’s soul indicates that she wants Jung’s fear “to bring it before the ruler of this world” (p. 345). Jung’s soul tells him that Abraxas demands the sacrifice of his fear. Jung is incredulous and indicates he does not intend to meet the ruler of the world. Jung’s soul suggests that he should come before Abraxas because he has heard of Jung’s fear. Jung asks why it has to be him as there are many others who would be willing to sacrifice. Jung suggests that he is not worthy of the task. The soul subsequently begins to describe a great conflagration that comes from the north and destroys everything in its path. Jung’s soul suggests that he is a messenger.93 His soul’s words leave Jung feeling confused and anxious. Jung’s soul remained quiet for many days. Jung hears someone at the door. At this point in Liber Novus, Jung’s confrontation with the unconscious culminates with his “The Seven Sermons to the Dead.” Jung’s soul tells him to be quiet lest he disturb the work. Philemon abruptly appears and places his hand on Jung’s shoulder. “The Seven Sermons to the Dead” begins here. Philemon, through Jung, proceeds to instruct the dead. The dead state that

91

Each time before departing Jung, Philemon bends down and touches the earth with his hands and disappears. 92 It merits mention that the voice of Jung’s (1961/1989) own mother appeared in his dream of a phallus. “That is the man-eater” (p. 12). 93 Jung’s role as a messenger suggests that Liber Novus is a prophetic work with soteriological overtones.

267 TREASURE HUNTING they desire not Jung’s blood, but his light (p. 346). This marks an important turning point in the development of Jung’s ideas, for unlike the shades of Odysseus, the dead no longer desire the blood of life but the light of consciousness. This seems to be a cornerstone of Jung’s “Lament of the Dead” doctrine and is likely what Jung meant when he wrote: “Not one title of Christian law is abrogated, but instead we are adding a new one: accepting the lament of the dead” (p. 297). After completing the “Seven Sermons,” Jung turns to Philemon and questions him about the part of his teaching that refers to man as a gateway.94 Philemon reaffirms that man is a gateway and clarifies, albeit dimly, what he means: “Therefore they [the dead] had to learn what they did not know, that man is a gateway through which crowds the train of the Gods and the coming and passing of all times” (p. 354). Philemon adds You, being, are eternal in each moment. What is time? Time is the fire that flares up, consumes, and dies down. I saved being from time, redeeming it from the fires of time and the darkness of time, from Gods and devils. (p. 354) Jung replies: “Illustrious one, when will you give me the dark and golden treasure and its blue starlight?” (p. 354). Philemon replies: “When you have surrendered everything that wants to burn to the holy flame” (p. 354). The blue starlight seems prescient to image 169 in that some have interpreted the blue object to the left of the faces as a star, whereas others have viewed it as a flower. Its color evokes the image of blue starlight which is transformed into the four primary colors. The seventh sermon of the dead suggests the following: “At immeasurable distance a lonely star stands in the zenith . . . This star is the

94

See footnote 58 above.

268 TREASURE HUNTING God and the goal of man . . . This is the one guiding God . . . toward him goes the long journey of the soul after death” (p. 354). Jung (1954/1969a) wrote elsewhere: Indeed, man himself is an “Astrum”: “not by himself alone, but for ever and ever with all apostles and saints; each and every one is an astrum, the heaven a star . . . therefore saith also the Scripture: ye are lights of the world.” “Now as in the star lieth the whole natural light, and from it man taketh the same like food from the earth into which he is born, so too must he be born into the star. (CW8, para. 390) As Philemon speaks an obscure figure with golden eyes appears. Jung refers to the figure as the dark one. When Jung (2009) asks the dark one who he is, he replies as follows: “I come from afar. I come from the east and follow the shining fire that precedes me, Philemon. I am not your enemy, I am a stranger to you. My skin is dark and my eyes shine golden” (p. 355). The dark one suggests that he brings abstinence from human joy and suffering. Jung, fearful of the apparition, asks him why he is so dark. The dark one responds: You may call me death—death that rose with the sun. I come with quiet pain and long peace. I lay the cover of protection on you. In the midst of life begins death. I lay cover upon cover upon you so that your warmth will never cease. (p. 355) Jung tells the dark one he wishes to be among men. The dark one responds cryptically “You will go to man as one veiled. Your light shines at night. Your solar nature departs from you and your stellar nature begins” (p. 355). The dark one vanishes. After the dark one’s departure, Philemon asks Jung if he took a proper look at him and suggests that he will hear from him again. The dark one seems to personify death. He first appeared to Jung in chapter 6 of Liber Secundus while he navigates the depths of his imagination and

269 TREASURE HUNTING glimpses a “densely pressed multitudes of men, old men, women, children, and other animals” (p. 274) Philemon proceeds to show Jung an “immeasurable mystery” (p. 355). Jung initially cannot make out what it is and then sees a woman with a sevenfold mantle of stars which covers her.95 Philemon addresses the figure as mother. Philemon states that she needs to be Jung’s mother. A distant voice rings out and declares that “he must cleanse himself first” (p. 355). When asked by Philemon about his impurity, the voice responds: “It is the commingling: he contains human suffering and joy. He shall remain secluded until abstinence is complete and he is freed from the commingling with men. Then he shall be taken as a child” (p. 355). The vision ends and Philemon departs. Jung asks how his uniqueness will remain. Philemon says “you will hold the invisible realm in trembling hands; it lowers its roots into the gray darknesses and mysteries of the earth and sends up branches covered in leaves into golden air” (p. 355). Jung gleans from Philemon’s words that he must stay true to love. By doing this, he bonds with the great mother and achieves his stellar nature, “liberation from bondage to men and things” (p. 356). Jung speaks of accepting suffering by remaining true to love and suggests that by voluntarily devoting himself to love, “Only thus does the light of the star grow, only thus do I arrive at my stellar nature, at my truest inner most self, that simply and singly is” (p. 356). The light of the star could be viewed as a reference to the star-like orb depicted in image 169. Jung himself seems to represent this star, his stellar nature, and through his works (i.e., complex psychology) may aspire to restore the dead by safeguarding their legacy and answering their questions.

This maternal figure seems to refer to the heavenly mother (i.e., Sophia) depicted in Jung’s cosmological system. The sevenfold mantle of stars suggests the seven planetary gods of the ancient world. 95

270 TREASURE HUNTING When night falls, Philemon approaches Jung and presents him a silver fish96 so that he may find comfort. Jung notices a shade standing in darkness at the door, bearing a robe of grandeur. Philemon recognizes the shade as Christ and immediately kneels down touching the earth. Philemon praises Christ and tells him that men should aspire to live their own lives without imitation. Philemon observes that the work of redemption— apocatastasis—continues in us. Philemon then says “Blessed is the dead one, who rests from the completion of his work” (p. 356), which suggests that Christ has fulfilled and completed his work which coincides with the completion of the Piscean age. “The time has come when each must do his own work of redemption. Mankind has grown older and a new month has begun” (p. 356).97 The shade of Christ disappears along with Philemon. Jung resolves to accept all the joy and every torment of his nature and to remain true to his love, “to suffer what comes to everyone in their own way” (p. 356). Thus, one could say that Christ has passed the torch on to us. The mainstay of this argument may be articulated as follows: We must now continue his work, not through apish imitation, but through individuation or more precisely through an apocatastasis of the dead. Jung (1951/1968b) would later apply the term apocatastasis to feminine consciousness in his essay “The Psychological Aspects of the Kore”: The psyche pre-existent to consciousness (e.g., in the child) participates in the maternal psyche on the one hand, while on the other it reaches across to the daughter psyche. We could therefore say that every mother contains her daughter in herself and every daughter her mother, and that every woman extends backwards into her mother and forwards into her daughter. (CW9i, para. 316)

96 97

The fish is a symbol of Christianity. The new month refers to the age (aeon) of Aquarius, see footnote 50 above.

271 TREASURE HUNTING Jung believed that the individuation process presented the personality a means of actively participating in the archetype of wholeness. He added that The individual’s life is elevated into a type, indeed it becomes the archetype of woman’s fate in general. This leads to a restoration or apocatastasis of the lives of her ancestors, who now, through the bridge of the momentary individual, pass down into the generations of the future. An experience of this kind gives the individual a place and a meaning in the life of the generations, so that all unnecessary obstacles are cleared out of the way of the life-stream that is to flow through her. (para. 316) The foregoing passages seem to underscore a central premise of the apocatastasis of the dead, that is to say, the living form a symbolic bridge between the past and the future in the present. The real activity takes place in the lived experience of each passing moment. As Jung (1921/1971) suggested with his psychological postulate esse in anima, “The psyche creates reality every day” (CW6, para. 78). Image 169 seems to visually intimate something of this magnitude in regards to the living’s relationship with their dead, albeit influenced by apparent Eastern philosophical sources, which Jung began to study earnestly in the late 1920s. Philemon reappears and says that he impregnated the dead body of the underworld and after it gave birth to the serpent of the God he encountered the madness of men. (Jung, 2009, p. 356). Philemon alludes to the stupidity of humankind and states that “the serpent grows hot and fiery through the drenching flood. Its fat burns in a blazing flame. The flame becomes the light of men, the first ray of a renewed sun, He, the first appearing light” (p. 357). Jung admits that he was not able to grasp what else

272 TREASURE HUNTING Philemon said, however, indicates that Philemon was speaking to the dead. Jung is horrified by the atrocities that coincide with the rebirth of a God. Jung’s soul visits him in a dream and is troubled by the suffering of the Gods. Jung offers his help by mediating between the Gods and humankind. The soul agrees that the Gods need a human mediator and rescuer: “With this man paves the way to crossing over and to divinity” (p. 358). Jung’s soul urges him to allay the torment of the Gods, and accordingly, Jung can indirectly help man. His soul adds that the Gods want obedience. Jung rejects the proposal and says: “There is no longer any unconditional obedience, since man has stopped being a slave to the Gods” (p. 358).98 Jung’s soul responds: “The Gods want you to do for their sake what you know you do not want to do” (p. 358). Jung however is defiant: “What do the Gods do for me? They want their goals to be fulfilled, but what about mine” (p. 358). Jung’s soul is surprised by Jung’s words and points out to Jung that the Gods are strong. Jung acknowledges the God’s strength but states that “no longer is there any unconditional obedience” (p. 358). Jung further observes: They allowed man to become so blinded that he believed that there were no Gods, and that there was only one God who was a loving father, so that today someone who struggles with the Gods is even thought to be crazy. (p. 358) The soul, astonished at Jung’s words, asks: “You do not want to obey the Gods?” (p. 358). Jung says that humankind has already done enough. Jung dispatches his soul to carry his message to the Gods. Jung’s soul returns and tells him that the Gods are angry at his disobedience. Jung, unfazed, stands his ground. Jung instructs his soul to tell the Gods that they must do their share now. “The Gods may

The abovementioned statement seems related to Jung’s own dissatisfaction with his father’s blind allegiance to the Christian faith, see chapter 4. 98

273 TREASURE HUNTING devise a service in return. You can go. I will call you tomorrow so that you can tell me what the Gods have decided” (p. 358). Jung calls his soul to him and demands that she convey her message. Jung’s soul says: The gods give in. You have broken the compulsion of the law. Therefore I painted you as a devil, since he is only one among the Gods who bows to no compulsion. He is the rebel against the eternal law, to which, thanks to his deed, there are also exceptions. (p. 359) Jung’s soul adds that the Gods were in fact happy with Jung’s demands because it would be bad if there no exception to eternal law and thus the tolerance for the devil. Jung’s soul then cries out loudly: “The Gods have mercy upon you and have accepted your sacrifice!” (p. 359). The foregoing passages require additional commentary. Jung’s soul mentions a sacrifice, which is taken up in the form of Jung. The Gods are compelled to agree to Jung’s terms and seem to recognize that without a rebirth of the God image within the human soul, they will become extinct. Jung’s soul serves as an intermediary between Jung and the Gods in the upper realms. With the birth of a new god, the eternal law that had once governed the intercourse between humankind and the Gods is annulled. Man, Anthropos, now assumes a central position in a new cosmogonic myth borne out of Jung’s confrontation with the unconscious. This part of Liber Novus presents a soteriological theme that Jung (1952/1969a) will later take up in Answer to Job. It suggests that humankind’s development is essential to the evolution of the God image. The new factor is something that has never occurred before in the history of the world, the unheard-of fact that, without knowing it or wanting it, a mortal man is

274 TREASURE HUNTING raised by his moral behaviour above the stars in heaven, from which position of advantage he can behold the back of Yahweh, the abysmal world of “shards.” (CW11, para. 595) So with this new dispensation the Gods must now reciprocate fairly and unconditional obedience is abolished. The soul conceives a new god of ambiguity and multiplicity in the form of Abraxas, who can reconcile the opposites. Thus, one could say that Liber Novus suggests a theophany, the rebirth of the God image in the human soul. Corollary to this new cosmogonic myth, Jung introduces the idea of an apocatastasis of the dead, which seems to suggest that the human personality functions as a symbolic gateway, as it were, between a lower realm characteristic of a natural world constructed from the polarity of opposites and the upper realms. Although Jung was not clear what the upper realms exactly were, the term seems to refer to the gnostic concept to of the pleroma. In Appendix C of Liber Novus, he associated the upper world with the pleroma. Jung (2009) wrote “And just as the moon is the crossing to the dead of space, the spiritual sun is the crossing to the Pleroma, the upper world of fullness” (p. 370). According to Gnosticism, there is an upper world where the Gods reside and a lower world governed by a demiurge, a false god who mistook himself as the absolute creator. The upper realm was originally ruled by Sophia (i.e., Wisdom) and the seven planetary powers (i.e., Gods) were subordinate to her. Sophia was associated with the human soul and per Gnostic tradition had descended into the materiality of the world. In the Gnostic system, the individual assumes a role that has both soteriological and cosmological overtones, which seems suggestive of Jung’s original draft version of Systema Munditotius, in which Jung positioned man, Anthropos, at the center of his

275 TREASURE HUNTING psychocosmology. Because Systema Munditotius was a pictorial articulation of Jung’s “Seven Sermons to the Dead,” it seems implicated with Jung’s apocatastasis of the dead and by extension, image 169. Providing answers to the questions of the dead, as I will further discuss, could be viewed as equivalent to the integration of unconscious contents, or put a different way, individuation. For reasons already articulated, the role Christ plays in Liber Novus is also highly suggestive of the apocatastasis of the dead. Jung believed that Christ’s life, death, descent into hell, and eventual resurrection, could be viewed as an archetypal template of the apocatastasis of the dead. However, one could no longer rely on Christ to serve as an intermediary. Rather, the individual had to become a Christ to quicken the apocatastasis within himself. For redemption of the past can only be fulfilled within the living present. Origen’s concept of a universal restoration is supplanted by an individual or personal one that takes place within the human soul. A gradual and progressive restoration seems complementary to Origen’s notion of a universal restoration in the sense that former takes place over the course of time whereas the former is immediate. In this way, the soul assumes the throne of the kingdom of consciousness, uniting lower with upper, and restoring the dead to a state of wholeness. Throughout this chapter, I have reviewed and critically examined select excerpts from the Liber Novus to gain a clearer understanding of what Jung was attempting to communicate through his work. Jung would later import insights gained from his confrontation with the unconscious into his psychology in the form of concepts and psychological language. Jung’s confrontation with the unconscious illustrates his gradual immersion into the archetypal imagination between the years 1913 and 1916, which

276 TREASURE HUNTING culminated with his writing of “The Seven Sermons of the Dead.” One of the key ideas that is evident in Liber Novus is what I have termed Jung’s apocatastasis of the dead, which suggests the gradual and progressive restoration of the ancestral and spiritual patterns that influence one’s biographical and psychological tendencies. That Jung viewed this process in symbolic terms is essential to understanding the complex relationship between Jung’s personal myth, his individual cosmology, and image 169. By the late 1920s, Jung’s interests shifted from his inner explorations to an outward search for the parallels of what he had discovered within himself and his patients. Jung divided his efforts along two principal paths to find evidentiary support of his theories and the psychology of the unconscious. On the one hand, he sought out symbolic analogues in alchemy whereas on the other he pursued a comparative study of Eastern religions and traditions, among them Buddhism. It was along the second path that he seems to have found a rich repository of ideas that would contribute to his apocatastasis of the dead and the final painting of Liber Novus. A kind of syncretistic symbolism inspired by therapeutic and cross-cultural sources seems to figure into Jung’s rendering of image 169, which likely took place around 1930.

277 TREASURE HUNTING

278 TREASURE HUNTING Chapter 6 Image 169 in Context As stated in the introduction, the primary aim of this dissertation is to explore how image 169 likely relates to both Jung’s personal myth and his individual cosmology. To recap, Jung’s personal myth addresses the overarching symbolic narrative of his life that enabled him to confront the unconscious and eventually grasp its meaning. Although in this context, a myth is similar to a mere story, the term has a more nuanced meaning in regards to its psychological relevance. In this sense, a personal myth, when understood correctly, is revelatory in its capacity to shed insight on existential questions that pertain to the life of the individual. The term individual cosmology suggests a relationship between Jung and the principal ideas that influenced his interests and later structured his psychology. An individual cosmology ostensibly describes the emergent structure of the personality predicated on the innate tendencies and unique experiences that define a person’s life. One can observe the emergence of Jung’s individual cosmology in his early writings and in particular Liber Novus and The Black Books. Because of Jung’s extensive erudition, his individual cosmology was influenced by a wide range of historical, philosophical, and scientific antecedents. Chapter 4 discussed select pre-1913 events that shaped Jung’s personal myth and presaged his confrontation with the unconscious and by extension, the creation of image 169. In chapter 5, we turned to Liber Novus and critically examined what I have termed Jung’s apocatastasis of the dead. Overall, the research question aspires to gain a clearer hermeneutic understanding of image 169 by situating it within the context of Jung’s life and work. Although the dearth of research on the topic makes any in-depth analysis difficult, I have sought to amplify the painting by drawing parallels between religious, mythological, and depth psychological sources.

279 TREASURE HUNTING The painting has three basic motifs. The first motif is located on the left-hand side of the painting and depicts a circular blue and white image. Sixteen spokes radiate outward from the center suggesting a centrifugal activity. The appearance of the image evokes the appearance of either a lotus-flower or a star. The center of this blue and white orb consists of a peculiar square-shaped object juxtaposed with a cross. The second motif adjoins the blue orb in the form of a rainbow burst consisting of four colors: red, yellow, green, and blue. The rainbow burst radiates from the blue and white object toward a third motif, a throng of faces and skulls, which has been described elsewhere as the dead (Jung, 2011). One hundred and twenty seven faces and skulls assemble around the orb and rainbow burst. That some of the figures are distinctly colored, whereas others are not, suggests that the painting was left unfinished. Both Ulrich Hoerni, Jung’s grandson, and Shamdasani agree that the painting is incomplete, which seems evidenced by the fact that a few figures (e.g., #2, #32, #58, #34, #20)99 feature stark colors in contrast with the majority, which are shaded in with a dull blue. Another interesting feature of the faces and skulls is the position of their gaze. Some faces look toward the rainbow burst, some seem to look directly at the reader, and five faces (e.g., #32, #90, #91, #110, #111) look away. That some of the figures wear distinctive period attire suggests that they represent people from different historical timeframes. Such a depiction indicates that Jung was trying to express the passage of time, which gradually transitions from the rainbow burst to the lateral edges of the painting occupied by archaic men and skulls. Viewed together, these motifs seem to correspond to key concepts in Jung’s psychology and highlights his tendency of fusing

99

See Appendix A.

280 TREASURE HUNTING disparate ideas into his work. Jung’s syncretistic impulse seems to have manifested superlatively within image 169. Furthermore, image 169 could be viewed as analogous to a holographic representation of Jung’s psychology. A hologram is created when a single laser is split into two separate beams. In such a scenario, the first beam bounces off the photographed object whereas the second beam collides with the light reflected from the first, which results in an interference pattern that is recorded on film. The picture of the object is not visible to the naked eye but only a set of nebulous concentric rings, which represent the encoded information on the photograph. However, when another light source is shined through the film, a three-dimensional image appears of the original photographed object. Even if the film is cut into two or four pieces, the same image of the object will appear as a hologram when a laser is shined on it, although the successive copies will not maintain the same quality of the original. In other words, one can reconstruct the same image of the original photographed object from any part of the film. Accordingly, the holographic image is not a local phenomenon because the information is distributed throughout the entire film. Although image 169 is not three dimensional, it seems to contain the virtual whole of complex psychology in a single instance of his Jung’s oeuvre, which suggests that it is indirectly analogous to a hologram. Rainbow Burst Although some scholars have suggested that Jung painted image 169 in the 1940s or even as late as the 1950s, Jung (2009) himself indicated that he stopped working on Liber Novus in 1930 (p. 360). Shamdasani has also suggested that Jung likely started the painting around 1930 (personal communication, March 26, 2014), although he could have

281 TREASURE HUNTING continued working on it for a few years afterward. As I will show, the late 1920s and early 1930s were an important period in Jung’s professional life and marked a turning point in the direction of his work. The suggested timeframe is supported by a subtle clue found in image 169. The painting contains four words faintly written in the lower right hand corner of the image. The margin note reads as follows: roth (red), gelb (yellow), grun (green), and blau (blue). The words sequentially correspond to the ordering of the colors in the rainbow burst, which suggest that Jung had a specific purpose in mind for the array of colors. In Jung’s view, the colors aptly symbolized the four functions of consciousness and comprised a color quaternity. He suggested that this color quaternity was not an arbitrary construct but rather an empirical observation derived from his study of alchemy, mythology, folklore, religion, and individual case studies. During the late 1920s, Jung’s interests began to shift to areas where he could find broader cross-cultural and archetypal consensus for his psychological theories. Jung’s thinking regarding the color quaternity was mainly predicated on two empirical sources. The first source was dreams and visions that he initially observed in himself and later in his analysands. The second source, which I will consider later, was his cross-cultural studies. Analytic and clinical sources. Throughout his career, Jung compiled an abundance of analytic and clinical material which he used to support his theories. He incorporated a significant amount of this material into his papers, to include “A Study in the Process of Individuation,” 100 which Jung originally presented at the 1933 Eranos Conference in Ascona, Switzerland. Therein he first alluded to a color quaternity comprised of red, yellow, green, and blue.

100

Jung also published this paper in the 1940 book The Integration of Personality.

282 TREASURE HUNTING The paper focused on the dreams and fantasies of a middle-aged female analysand, Miss X, who had reached an impasse in her life and found herself psychologically stuck. The woman’s unconscious compensated for the inadequacies of her conscious attitude by producing elaborate archetypal dreams and fantasies. She also produced a collection of 24 paintings that Jung viewed as a visionary articulation of Miss X’s individuation process. Jung encouraged Miss X to record her fantasies in an aesthetic and imagistic way, not unlike what he had done with his own Red Book material. During her analytic sessions, Jung (1950/1968a) reached an understanding that colors could help activate the unconscious and encouraged her to creatively express them in pictures: “I also advised 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” (CW9i, para. 530). Miss X was later identified as one of Jung’s close colleagues, an American woman named Kristine Mann (1873-1945) (Kirsch, 2000, p. 65). Although we cannot say for certain, it seems likely that Mann began her analysis with Jung around 1928, which apparently had an influence on image 169. Regarding the mandala pictures painted by Mann, Jung (1950/1968a) noted the same color quaternity depicted in image 169: This takes place in stages: a combination first of blue and red, then of yellow and green [italics added]. These four colours symbolize four qualities, as we have seen, which can be interpreted in various ways. Psychologically this quaternity points to the orienting functions of consciousness, of which at least one is unconscious and therefore not available for conscious use. (CW9i, para. 582) Jung further observed that Mann correlated her colors with the four functions:

283 TREASURE HUNTING 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. (para. 588) Regarding the symbolism of Mann’s pictures, Jung suggested the following correlation: “Gold expresses sunlight, value, divinity even” (para. 543); “red means blood and affectivity, the physiological reaction that joins spirit to body, and blue means the spiritual process (mind or nous)” (para. 555). In a footnote on the same page, Jung observed that “The colour correlated with sensation in the mandalas of other persons is usually green” (p. 335, n. 134). Jung’s description suggests that the color quaternity was not universally applicable but could vary from person to person depending on a range of factors such as culture, context, and individual experience. Thus, Jung (1938/1969) was not unequivocal about his color scheme indicating that, “It happens with some regularity that these colours are correlated with the four orienting functions of consciousness” (CW11, para. 281). Mann’s pictures seem to have played a formative role in corroborating the color quaternity, which was what he was apparently intending to convey by painting the rainbow burst. Such an idea seems supported by the fact that a rainbow appears in picture 18 of her active imagination series. Moreover, a subsequent image (picture 19) contains the same color quaternity described above. Both images were painted in 1930. Because the four colors are frequent symbols of the four functions, it makes sense that they would appear in her active imaginations as signposts of her individuation process.

284 TREASURE HUNTING Although seldom mentioned, it is important to note that typology describes how individuation uniquely occurs in different people through the differentiation of the functions and the movement of libido. That Jung’s typology is related to individuation is supported by the fact that the subtitle of the 1923 English translation of Psychological Types read The Psychology of Individuation. One could consider typology as the way of individuation. So it is not surprising that the types would appear in Mann’s fantasies in the form of the color quaternity. Jung (1928/1966) provided some helpful comments about how psychological functions factor into the process of individuation: But individuation means precisely the better and more complete fulfilment of the collective qualities of the human being, since adequate consideration of the peculiarity of the individual is more conducive to a better social performance that when the peculiarity is neglected or suppressed. The idiosyncrasy of an individual is not to be understood as any strangeness in his substance or in his components, but rather as a unique combination, or gradual differentiation, of functions and faculties which in themselves are universal. (CW7, para. 267) The four functions, combined with the two attitudes (i.e., extraversion and introversion) represent, as it were, an orienting compass to the individuation process. The integration of the most unconscious function usually plays a major part in the individuation process. Typology demonstrates how the personality integrates unconscious contents into consciousness in a synthetic way. Jung (1954/1968a) further pointed out that the appearance of the mandala is a symbol of individuation (CW9i, para. 73).

285 TREASURE HUNTING Cross-cultural sources. The second source was Jung’s vast archive of cross-cultural studies, which included his exploration of Eastern traditions. Jung does not seem to have arrived at a mature understanding of the color quaternity until late 1929, which coincided with the publication of his commentary on The Secret of the Golden Flower. Therein he alluded to a color quaternity as well the spontaneous production of mandala images by his patients (1957/1967, CW13, para. 36); likely a veiled reference to his analytic sessions with Mann. By 1928, Jung’s preoccupation with Liber Novus and The Black Books was winding down and around the same time he received Wilhelm’s manuscript of The Secret of the

Figure 13. Image 163 of Liber Novus, Golden Castle (Jung, 2009, p. 163). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

Golden Flower which coincided with his production of a mandala of a golden castle (Figure 13). Jung viewed this coincidence as profoundly meaningful, even synchronistic. Jung described this serendipitous encounter in a margin note in Liber Novus, Jung (2009) wrote: 1928. When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousand-year-old text of the golden castle, the embryo of the immortal body. Ecclesia catholic et protestantes et seclusi in secreto. Aeon finitus. [The Catholic Church and the Protestants and those secluded in secret. The end of an aeon.]. (p. 163)

286 TREASURE HUNTING According to Bennet (1985), after Jung wrote “The Relations between the Ego and the Unconscious” in 1928 his interest in Chinese thought intensified. This also coincided with his reading of Wilhelm’s manuscript on The Secret of the Golden Flower. Jung viewed his typology as a Western parallel to the Chinese notion of Figure 14. Image 105 of Liber Novus (Jung, 2009, p. 105). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

Tao (p. 71). In Jung’s commentary on The Secret of the Golden Flower he included one of his own mandalas, image 105 (Figure 14) of

Liber Novus. Jung (1957/1967) provided the following description of the image: In the centre, the white light, shining in the firmament; in the first circle, protoplasmic life-seeds; in the second, rotating cosmic principles which contain the four primary colours [italics added]; in the third and fourth, creative forces working inward and outward. At the cardinal points, the masculine and feminine souls, both again divided into light and dark. (CW13, p. A6) That Jung presented one of his own paintings in his commentary on The Secret of the Golden Flower suggests that he was trying to draw a cross-cultural connection between his own experiences and those found in Eastern religion. Around the same time, Jung started his dream analysis seminar, which took place between November 7, 1928 and June 25, 1930. During this time period, Jung was still

287 TREASURE HUNTING working through a collection of fantasy material that originated both from analytic encounters and cross-cultural studies. In the seminar, Jung indicated that he had already read Zimmer’s Artistic Form and Yoga in the Sacred Images of India (Kunstform und Yoga im Indischen Kultbild), which was instrumental to his psychological understanding of Eastern traditions and very likely informed his reading of an obscure Buddhist text titled the Shri-chakra-Sambhara Tantra. Jung owned a copy of both Artistic Form and Yoga in the Sacred Images of India and Volume Seven of The Tantric Texts, which contains an English translation of the Shri-Chakra-Sambhara Tantra. He extensively annotated on the margins of its pages. Jung (1944/1968) mentioned the Shri-ChakraSambhara Tantra in his Collected Works, indicating that it contained directions for the construction of mental images in the form of mandalas (CW12, para. 123). In the foreword of Artistic Form and Yoga in the Sacred Images of India, Joseph Campbell (1984) wrote that, “The crucial moment was of Jung’s reading of Indologist Heinrich Zimmer’s Kunstform und Yoga” (p. xvi). Thus, the importance of this work in regards to Jung’s understanding of mandala symbolism cannot be overstated. Jung indicated that he first read the book after writing his commentary for Richard Wilhelm’s translation of The Secret of the Golden Flower (1929) and before he met Zimmer: “I first met Heinrich Zimmer at the beginning of the thirties. I had read his fascinating book Kunstform und Yoga and long wished to meet him in person” (Jung as cited in Campbell, 1984, p. xix). Jung actually met Zimmer in May 1932. The fact that Jung (1984) mentioned Zimmer in his dream analysis seminar on February 26, 1930 (p. 492) suggests that he read the book around January 1930. Jung’s handwritten note of “1930” on the

288 TREASURE HUNTING inside cover of Artistic Form and Yoga in the Sacred Images of India seems to confirm at least the year he read the book. In Artistic Form and Yoga in the Sacred Images of India, Zimmer (1926/1984) provided an extensive exposition of the Shri-Chakra-Sambhara Tantra. He described this work as a “product of an era in Buddhism’s development in which the main stream of the Buddha doctrine in its course through time acquired an influx from the tributaries of Hinduism [such] that its content became virtually indistinguishable from Hinduism” (p. 81). The Shri-Chakra-Sambhara Tantra has its origins in the diamond vehicle (Vajrayana) doctrine of Tantric Buddhism and consists of a series of instructional mantras—meditational techniques—informed by Tantric doctrine and teachings. Shri Chakra translates to the “Circle of Bliss” (p. 90) and is visualized as a circular mandala consisting of four gates, which evoke Jung’s four functions. The adept or Yogin focuses on the mandala and visualizes a god. The god (devata) represents the “guru-essence” which could be interpreted psychologically as a projection originating from the background activity of the psyche. The ritual described in the Shri-Chakra-Sambhara Tantra aims at assisting the adept unfold and enfold mental images through visualization techniques. Such an exercise runs parallel to Jung’s method of active imagination. Zimmer suggested that the culminating point of the ritual is the attainment of the vajrasattva (diamond essence), which would be roughly analogous to the alchemical lapis. Jung (1958) similarly observed that The lapis philosophorum of the alchemists is the same thing as the Vajra, it is the thing which is produced in the laboratory of a man’s life and which is far more

289 TREASURE HUNTING durable than he is. These thoughts run parallel both in the East and the West. (p. 43) Jung pointed out that in the ritual the adept “must dive into the absolute Void and immerse himself in it for a long time in order to make his spirit receptive” (p. 42). The void (Shunyata) could be understood as a state of non-dualism wherein identification with the ego ceases. The adept subsequently awakens within his diamond body and realizes his Buddhahood. Having transcended the opposites, the adept acquires a body that is simultaneously male and female, which suggests the hermaphroditic quality of wholeness. Zimmer (1926/1984) provided additional commentary: Then the adept develops internally the feeling proper to his awareness of the undifferentiated sameness of all phenomena. In the Emptiness that constitutes their essence . . . he sends out rays in every direction, colored according to the cardinal points–blue, green, red, and yellow [italics added]. Their colors are a surety that his feeling of Total Compassion (karuna) permeates the entire cosmos. (p. 93) Understandably, the color symbolism mentioned above would have drawn Jung’s attention when he read the book in 1930. Jung’s copy of Zimmer’s book was marked up extensively and he underlined the italicized words in the foregoing passage. Around the same time (1930-1931), Jung wrote a two-page manuscript titled “Tantric Texts” which he evidently used in preparation for his lectures at the Eidgenössische Technische Hochschule (ETH), the Swiss Federal Institute of Technology (Shamdasani, 1996, p. xxxiv, n. 66). Shamdasani further indicated that the source material for these manuscripts

290 TREASURE HUNTING was Artistic Form and Yoga in the Sacred Images of India (pp. 2-87), wherein can be found Zimmer’s exposition of the Shri-Chakra-Sambhara Tantra. Although Jung likely began to read the Shri-Chakra-Sambhara Tantra in the early 1930s, his study of the text culminated in his 1938 and 1939 lectures at ETH, where he presented psychological commentary on the material in its most lucid form. In lectures 715 of volume three of the ETH Lectures, Jung (1958) provided an etymological and historical overview in accordance with his own hermeneutic understanding of the text. In his commentary, Jung cited the following passage: “From the Mantra ‘Hum’101 rays of blue, green, red and yellow light shoot forth through the four heads of the Devata and gradually fill the whole universe” (p. 48). Jung added: The Yogin is in the centre, saying “Hum,” the first quality of consciousness, the world principle. The four colours emanate from the centre, the four qualities of consciousness; that is the four functions of consciousness, the four possibilities of consciousness. (p. 48) After suggesting that the image had a definite psychological meaning, Jung quoted the following passage from the text: Then think in the following order: – ‘May all sentient beings enjoy happiness and be endowed with the cause thereof’ – ‘May they be freed of all pain and of the causes thereof’ – ‘May they never be separated from the highest happiness’ – ‘May they be free both of attachment as well as hatred, and may they have all

101

The Hum mantra describes the state of mind devoid of objective content. The Shri-Chakra-Sambhara Tantra further explains the Hum syllable as follows: Of this HUM, the letter U stands for the knowledge [or wisdom] which accomplishes all works; the body of the letter H, for the knowledge which distinguishes; the top of the letter H, for the equalizing knowledge; the Crescent [Chandra, the Moon], for the mirror-like knowledge; and the Bindu [Thigle, the Acuminated Circle], above that, for the changeless knowledge. (Avalon, 1919, pp. 4-5)

291 TREASURE HUNTING their eight worldly wishes pruned and levelled.’ Think fully on these wishes in their order the one after the other. (p. 49) In his copy of the Shri-Chakra-Sambhara Tantra, Jung marked lines to the left of all the foregoing passages, which suggests that the ideas contained therein fired his imagination. He also underlined key words associated with the color quaternity. For instance, in a passage describing a picture of an eight-petalled lotus wherein the adept imagines himself at the center of the flower, Jung underlined the four colors in the following sentence: “The face in front is blue, that on the left is green, that at the back red, and that on the right yellow” (Avalon, 1919, p. 22). In the same text, Jung underlined key words in the following passage: On the four intervening points (of the compass) that is, South-East, North-East, North-West, and South-West are four urns made of precious metals and filled with the water of wisdom. On the top of these are the five nectars in skull-bowls, thus making the Chakra of great bliss. Outside these ae fences, pillars, beams, rafters and ceilings, made up of curved daggers each having the half of a Dorje as their hilt. Outside these is the blue Mandala of the Mind with eight points.102 (pp. 29-30) Jung’s extensive mark up of his copy of the Shri-Chakra-Sambhara Tantra, as well as his “Tantric Texts” manuscript, likely show the genesis of his extended commentary in the ETH Lectures, and the probable influence on image 169 in the form of the rainbow burst, which stemmed from his initial reading of Artistic Form and Yoga in the Sacred Images

Avalon (1919) indicated a translation in his footnote: “literally, ribs or spokes” (p. 30, n. 2). These words seem to parallel the radiating effect of what I have described as either a blue lotus-flower or blue star. 102

292 TREASURE HUNTING of India. As indicated, Jung read the former text in 1930, which informed his subsequent reading of the Shri-Chakra-Sambhara Tantra; and likely took place not long after he read Zimmer’s work. Jung began his ETH Lectures in 1933. Thus, one could say that Jung (1958) tried to correlate the four colors with his four functions of consciousness, and in a syncretistic turn, proceeded to associate the principal skandhas103 (i.e., aggregates)—the basic building blocks of the phenomenal world in Buddhist tradition—mentioned in the text with his four functions: Rupa skandha (thinking), Vedana skandha (sensation), Samjna skandha (feeling), and Sangskara skandha (intuition) (p. 53). However, Jung’s correlation of the four functions with the skandhas seems to miss the mark. A close reading of the Sanskrit roots for each skandha suggests another viable interpretation. Rupa (physical form) more closely corresponds with sensation, Vedana (qualitative perception) with feeling, Samjna (mental discrimination) with thinking, and Sangskara (impulses and habits) with intuition. Whatever the case, that Jung saw parallels in the skandhas and his psychic functions suggests that he tried to incorporate Tantric ideas into image 169 through the rainbow burst motif. The text also identifies a fifth skandha or function, Vijnana, which Jung equated with a kind of centralized knowledge which united all four functions. Jung wrote: “The aggregate of cognition (knowledge) is the Buddha, the enlightened diamond essence. The highest essence proceeds out of the four functions as the final result” (p. 51). What seems to emerge from the combination of all functions is the quintessence of Buddha consciousness, because of the mediating role of the Buddhist master, or Yogin: “The

103

The skandhas are also reminiscent of the four classical elements—earth, air, fire, and water—found in ancient philosophy.

293 TREASURE HUNTING quaternity is dissolved in the essence of the Yogin, and the fourfold image of consciousness disappears” (p. 51). In his analysis, Jung interpreted the phenomenon as follows: Then he assimilates all beings into the mandala. One could say that the Yogin hangs like a spider in its web, and draws all beings through the rays of light into the mandala of his personality. He establishes himself as the centre of the world. The light, which emanated from the “Hum,” is withdrawn and absorbed by the Self. (p. 55) Just as the Yogin may achieve the diamond body through the fifth skandha, the Western adept may realize the self by integrating the four functions into a fifth. Thus, one could say that in the attainment of vijnana (i.e., wisdom) one reconciles the opposites and realizes the self. In this way, vijnana suggests the path to the center or the self. In his commentary on the Shri-Chakra-Sambhara Tantra, Zimmer (1926/1984) wrote, “on awakening, as though in a divine body, he is to feel himself in his surroundings as the central point of the mandala,” (p. 93) a passage that Jung underlined in his copy of Artistic Form and Yoga in the Sacred Images of India. As mentioned, one could also compare the idea of the vajrasattva to the alchemical lapis, which Jung viewed as a symbol of the self. Elsewhere, Jung (1944/1968) observed that the lapis unites all colors in itself, adding that “the quaternity represented by the colours is a kind of preliminary stage of the lapis” (CW12, para. 220). The parallels between Tantric Buddhist rituals and Western alchemical ideas are stark and support a better understanding of what Jung was attempting to convey in image 169, a point that will be subsequently addressed.

294 TREASURE HUNTING Jung’s commentary in the ETH Lectures demonstrates his most mature understanding of the color quaternity. Its breadth and scope suggest that it took Jung nearly a decade to work through his analytic material and cross-cultural studies before he was able to synthesize a symbolic understanding of the four functions which he represented by the color quaternity. Elsewhere in the ETH Lectures, Jung (1958) provided a primer for his color quaternity: The four colours attributed to the functions are based on certain feeling values. Feeling is red, this is connected with blood and fire, with passion and love which is supposed to be warm and glowing. Sensation is green, this is connected with the earth and perceiving reality. Thinking is white, or blue, cold like snow and Intuition is gold or yellow because it is felt to shine and radiate. (p. 78) That Jung associated white and blue with roughly the same psychological meaning requires further explanation. In his book Secret Doctrines of the Tibetan Book of the Dead, author and Buddhist scholar Detlef Ingo Lauf (1977) pointed out that in Buddhism, blue and white are frequently used interchangeably (p. 129). Jung’s principal aim then was not establishing a universally valid psychological schema predicated on color symbolism but rather empirically demonstrating a semi-regular chromatic pattern which more or less indicated the same psychological meaning. Jung accepted that there would always be some variation in the way the psyche expressed color symbolism. Jung seems to have incorporated this basic idea in image 169 through the rainbow burst of light. Blue Lotus-Flower or Star? The blue lotus-flower (i.e., Padma) or star is one of the most difficult images to pin down. The image after all is a symbol. As Andreas Jung emphasized, the central

295 TREASURE HUNTING object of the painting does not necessarily have to be either a star or a flower, but can be both simultaneously (personal communication, November 10, 2014). That is the nature of a symbol lest we choose to turn it into a sign. Accordingly, Jung (1916/1966) wrote that The symbol is not a sign that disguises something generally known. Its meaning resides in the fact that it is an attempt to elucidate, by a more or less apt analogy, something that is still entirely unknown or still in the process of formation. (CW7, para. 492) In fact, the symbolic quality of the image suggests a multivalent and polymorphous character that one can better understand by turning to Jung’s Collected Works. Jung (1938/1969) described this symbolic aspect of the mandala when he wrote: “It is a star, a sun, a flower, a cross with equal arms, a previous stone, a bowl filled with wine, a serpent coiled up, or a human being, but never a god” (CW11, para. 136). Blue lotus-flower. Jung considered the blue flower to be analogous to the golden flower. As he observed, “For the “golden flower of alchemy” can sometimes be a blue flower” (1944/1968, CW12, para. 101). Kristine Mann painted an active imagination of an evolving blue flower, which seems to parallel Jung’s blue lotus-flower image in form and time. Mann painted her blue flower images (pictures 14 thru 17) between September and November 1929 (Jung, 1950/1968a, CW9i, p. 348, n. 172), just before Jung read Zimmer’s Artistic Form and Yoga in Sacred Images of India. The timing was impeccable. As previously discussed, the images—pictures 18 and 19—that follow in the sequence contain a distinct rainbow motif and the color quaternity as well. Picture 18 was done in February 1930 and picture 19 was done in August 1930 (p. 348, n. 172).

296 TREASURE HUNTING Jung (1950/1968b) described a Tantric mandala as a yantra, which is used in Tantric and Indian traditions as an aid to meditation. Such a class of mandala is associated with the dead and therein contains a “garland of lotus leaves, characterizing the whole mandala as a Padma, ‘lotus-flower’ ” (CW9i, para. 630). Jung added that inside “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 shows” (para. 630). Jung’s commentary is highly suggestive of image 169, and the probable Eastern religious influences discussed above. In Jung’s commentary on Tantric mandalas, he wrote 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 “Diamond Body,” corresponding to the corpus incorruptibile of medieval alchemy, which is identical with the corpus glorificationis of Christian tradition, the incorruptible body of resurrection. This mandala shows, then, the union of opposites, and is embedded between yang and yin, heaven and earth; the state of everlasting balance and immutable duration. (para. 637) In regards to the center square-shaped object juxtaposed with a cross, Jung alluded to a similar motif in the same essay: “Flower motif with cross in the centre” (para. 656). While relating a report from a former patient, Jung (1912/1967) described a comparable image that arose from a dream. The patient saw a crucifix formed of excrement on the bottom of a blue-flowered chamber-pot (CW5, para. 276). Jung associated the image with the filius philosophorum, an analogue of the philosopher’s stone, which suggests that the highest value arises from the lowest value. Many years

297 TREASURE HUNTING later, Jung (1961/1989) expressed a similar theme by carving into stone a verse penned by the alchemist Arnaldus de Villanova: “Here stands the mean, uncomely stone, ’Tis very cheap in Price! The more it is despised by fools, The more loved by the Wise” (p. 227). Furthermore, Jung (1944/1968) suggested that the birth of the filius philosophorum takes place in the blue flower (CW12, Figure 30, para. 101). In Symbols of Transformation, he commented that “The alchemists sought their prima materia in excrement, one of the arcane substances from which it was hoped the mystic figure of the filius philosophorum would emerge” (1912/1967, CW5, para. 276). Elsewhere, Jung (1958) described the lotus-flower in a similar way. The lotus has always had an important mystical meaning. Its roots are down in the slime and mud at the bottom of the lake and the flower unfolds on the surface of the water. So it is chosen as the seat of the Buddha. (p. 113) Like the diamond body in Tantric Buddhism, the filius philosophorum is a symbol of the self and an alchemical analogue of Christ. Jung (1951/1968a) observed, “As the filius macrocosmi and a living being, the lapis is not just an allegory, but is a direct parallel of Christ” (CW9ii, para. 375). Jung also alluded to this same symbolism in the ETH Lectures. Jung viewed the lapis philosophorum as the final stage of the alchemical process. Whereas in the final stage of the Tantric sequence appears the Buddha, Christ is frequently viewed as a parallel of the lapis, the goal of the alchemical opus. “This Buddha,” Jung (1958) wrote, “is a parallel to the medieval ‘inner Christ’ ” (p. 105). He further observed that what emerges at the end of the sequence, as a result of the union of opposites, is “The

298 TREASURE HUNTING Hermaphroditic Child of the Sun and Moon” (p. 101). Just as the opposites—feminine and masculine, light and darkness, yin and yang—unite in Christ, the Yogin achieves psychic totality in the center of the blue lotus-flower. Jung added that “this is represented in images such as the flower, the lux moderna, the light which has broken into the darkness, the sun of justice descended from heaven” (p. 101). Although Jung did not begin an extensive study of alchemy until 1935,104 he referred to alchemical symbolism throughout Liber Novus. Shamdasani (2012) has suggested that “Jung had found the philosopher’s stone before he had come to his psychological understanding of alchemy” (p. 169). By 1910, Jung was already familiar with the basic teachings of alchemy (Shamdasani, 2009, p. 219). Although image 121 (Figure 15) of Liber Novus was painted in November 1919, it seems to share some commonalities with image 169, particularly in the form of the blue and white orb. Accordingly, one may further elucidate image 169 by comparison. Image 121

Figure 15. Image 121 of Liber Novus, Philosopher’s Stone (Jung, 2009, p. 121). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

seemingly depicts a flower surrounded by 16 golden petals, which seems analogous to the golden flower and by extension the apparent blue-lotus flower depicted in image 169. A note on image 121 reads as follows:

In 1935, Jung embarked on an intensive study of alchemy he called “treasure hunting,” filling eight notebooks with excerpts sourced directly from medieval and ancient alchemical texts. These personal notebooks are currently stored in the Jung archives at the ETH, Zurich, Switzerland. 104

299 TREASURE HUNTING This stone, set so beautifully, is certainly the Lapis Philosophorum [Philosopher’s Stone]. It is harder than diamond. But it expands into space through four distinct qualities, namely breadth, height, depth, and time. It is hence invisible and you can pass through it without noticing it. The four streams of Aquarius flow from the stone. This is the incorruptible seed that lies between the father and the mother and prevents the heads of both cones from touching: it is the monad which countervails the Pleroma. (Jung, 2009, p. 121; p. 305, n. 229) Jung’s cryptic inscription regarding the philosopher’s stone suggests a sacred object with special qualities. The painting is prescient for the way it contains a 16-petalled flower, a motif he would stumble upon serendipitously in 1928 upon receiving Wilhelm’s The Secret of the Golden Flower. The blue lotus-flower also has 16 petals. At the center of the diamond resides what appears to be a canted cross, which seems to parallel the equilateral cross embedded in the blue-lotus flower of image 169. Jung’s description is interesting for the way he applied spatial and temporal metaphors to the lapis. He did so by describing the three dimensions of space and the fourth dimension of time. Jung’s (1989/2012) commentary in his 1925 Seminar suggests that he was referring to the four functions, which through their differentiation and gradual circumambulation, one is theoretically able to experience the whole world, that is to say, grasp all imaginable aspects of reality. Jung viewed the four functions as different modes to experience reality through psychic images (i.e., libido formations). This number four however can be doubled when one considers the functions in both their introverted and extraverted configurations. Jung’s typological system suggests how one experiences the four principal aspects of

300 TREASURE HUNTING reality: “(1) static reality that comes to us through sensation; (2) the dynamic reality revealed by intuition; (3) static images given [to] us by thinking; (4) dynamic images sensed by feeling” (p. 134). The functions therefore could be viewed as four distinct modes of apprehension—symbolic gateways. Such a schema seems to suggest one’s simultaneous experience of inner and outer reality. In this way, the stone could be viewed as the union of all four functions into the fifth skandha (vijnana). Jung (1958) viewed vijnana as the Buddha vajrasattva: “This is the quinta essentia, the highest essence, the eternal being, the enlightened diamond body” (p. 56). Viewed as a quintessence, vijnana suggests an Eastern equivalent of the philosopher’s stone. Jung (1958/1970) added that “It is the circle divided into four with the centre, or the divinity extended in four directions, or the four functions of consciousness with their unitary substrate, the self” (CW10, para. 738). As previously mentioned, such a state would be equivalent to acquiring knowledge of the self. Elsewhere, Jung (1950/1968b) further elaborated on the significance of the lapis while analyzing a picture of an analysand: The stone in the centre, presumably a cube, is the quaternary form of the lapis philosophorum. The four colours also point in this direction. It is evident that the stone in this case signifies the new centre of the personality, the self, which is also symbolized by the vessel. (CW9i, para. 651) Jung’s late work Aion further elucidates the meaning of the lapis in conjunction with the color quaternity. “The lapis,” Jung (1951/1968a) wrote, “rests on the union of the four elements” (CW9ii, para. 376), which read psychologically refers to the four functions of

301 TREASURE HUNTING consciousness. Jung went so far as to apply the quaternity to phenomenal reality itself, which he called the space-time quaternio. Jung suggested that The space-time quaternio is the archetypal sine qua non for any apprehension of the physical world—indeed, the very possibility of apprehending it. It is the organizing schema par excellence among the psychic quaternities. In its structure it corresponds to the psychological schema of the functions. The 3:1 proportion frequently occurs in dreams in spontaneous mandala-drawings. (para. 398) Jung presented additional clues in Aion, wherein he suggested that the God-image (i.e., the self) was damaged as a result of the first sin and required reformation. Jung wrote that “The totality of images which the unconscious produces in the course of an individuation process are similar ‘reformations’ of an a priori archetype (the mandala)” (para. 73). Jung added that The “renewal” of the mind is not meant as an actual alteration of consciousness, but rather as the restoration of an original condition, an apocatastasis. This is in exact agreement with the empirical findings of psychology, that there is an everpresent archetype of wholeness which may easily disappear from the purview of consciousness or may never be perceived at all until a consciousness illuminated by conversion recognizes it in the figure of Christ. As a result of this “anamnesis” the original state of oneness with the God-image is restored. It brings about an integration, a bridging of the split in the personality caused by the instincts striving apart in different and mutually contradictory directions. (para. 73) The foregoing passage intimates Jung’s apocatastasis of the dead, or put differently, the gradual integration of unconscious contents to the archetype of wholeness through the

302 TREASURE HUNTING individuation process. As previously discussed, Christ’s Harrowing of Hell could be viewed as a mythological forerunner of the individuation process, just as the Buddhist teachings expressed in the Shri-Chakra-Sambhara Tantra could be interpreted as an Eastern analogue to the individual coming to terms with the self. The individual stands to gain by relating to his dead, the countless unconscious images that one has inherited as a result of biological, cultural, and historical factors. Whether one is referring to the actual dead or psychogenic factors is immaterial. As previously discussed, viewed through a phenomenological lens the effect of a discarnate spirit on the personality would be practically indistinguishable from an autonomous complex—psychic contents which are outside the control of the conscious mind. Jung (1961/1989) alluded to this point in his autobiography, when he wrote: “Quite early I had learned it was necessary for me to instruct the figures of the unconscious, or that other group which is often indistinguishable from them, the ‘spirits of the departed’ ” (p. 306). That the image depicts a flower can be further amplified by comparing image 169 with other paintings in Liber Novus. In image 159 (Figure 16), Jung painted his famous Liverpool dream, which he had on January 2, 1927 (Shamdasani, 2009, p. 318, n. Figure 16. Image 159 of Liber Novus, Window into Eternity (Jung, 2009 p. 159). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

296). Jung (2009) described the image as follows: “A luminous flower in the center, with stars rotating about it. Around the flower, walls with eight gates. The whole conceived as a transparent window” (p. 217). In

303 TREASURE HUNTING Memories, Dreams, Reflections, Jung (1961/1989) provided a detailed narration of the dream, wherein he described an island surrounded by a round pool. At the center of the island stood a magnolia tree “in a shower of reddish blossoms” (p. 198). The tree seemed to produce its own light. Jung associated a walkway in the dream with what he called the “Alley of the Dead” (p. 198), which considering what was covered in chapter 5 seems suggestive of the apocatastasis of the dead. Jung (1950/1968b) retrospectively described the central object of image 159 as a flower: “The rose in the center is depicted as a ruby, its outer ring being conceived as a wheel or a wall with gates” (CW9i, para. 654). In his commentary, Jung added: The magnolia turned into a sort of rose made of ruby-colored glass. It shone like a four-rayed star. The square represents the wall of the park and at the same time a street leading round the park in a square. From it there radiate eight main streets, and from each of these eight side-streets, which meet in a shining red central point, rather like the Etoile in Paris. The acquaintance mentioned in the dream lived in a house at the corner of one of these stars. “The mandala thus combines the classic motifs of flower, star, circle, precinct (temenos), and plan of city divided into quarters with citadel.” The whole thing seemed like a window opening on to eternity. (paras. 654-655) The foregoing passage is illuminating in that it demonstrates the symbol’s propensity to combine several motifs into one, which in this case, Jung mentioned a flower, star, and a precinct as key symbolic motifs of his mandala. He seems to have presented a similar pattern

Figure 17. Celestial Rose. Gustave Dore (1868). Public domain.

304 TREASURE HUNTING while painting image 169. Furthermore, Jung’s reference to the rose evokes Dante’s own visionary journey which culminated in the appearance of a celestial rose (Figure 17). In Artistic Form and Yoga in the Sacred Images of India, Zimmer (1926/1984) compared a yantra in the form of a 16-petalled lotus-flower with the vision of the candida rosa, whose center is occupied by the radiant God (p. 239). After scaling the Mountain of Purgatory—a Western analogue of Mount Sumeru105—Dante encountered the rose of heaven, as Zimmer wrote: There, transformed by the fountain of divine light that floods his sight, he beholds the rose of Heaven, a perfect replica of those many-petalled lotuses—here shaped by the Christian tradition—that form the center of so many mandalas and purely linear yantras, are the symbolic dwelling place of the Absolute, and serve as a frame for its unfoldings into the world of illusion. (p. 239) Zimmer further suggested that The rose is a grand amphitheater of deified essence—the convento delle bianche stole [convent of the white stoles]. The blessed souls of the Old and New Covenant form rows encircling the Divine, filling petal upon petal of the great rose in a significantly ordered pattern, just as Buddhas and bodhisattvas and aspects of the divine intended for the initiate’s contemplation are placed on the rings of petals in mandalas and yantras. (p. 239)

105

In Hindu and Buddhist mythology, Mount Sumeru (i.e., Mount Meru) is a symbol of the world axis, which in itself forms a mandala comprised of the four elements and four colors. It is the birth place of the cosmic egg and an Eastern Variant of Yggdrasil, the world tree of Norse mythology. Jung (1958) viewed Mons as the alchemical equivalent of Mount Sumeru. Mons was the dwelling place of the philosopher’s stone (p. 97).

305 TREASURE HUNTING Zimmer proceeded to directly compare the celestial rose with the rose stained windows characteristic of the cathedrals (e.g., Chartres) that depict Christ surrounded by rings of saints, martyrs, and farther out, angels (p. 240). Finally, Zimmer described Dante’s flower in a way that seems to parallel image 169: He [Dante] populates it with the crystalline, golden-winged, bee-like swarm of angels who spread heavenly bliss by flying to and from, from the divine font of supreme sweetness at the center of the flower out to its petals laden with transfigured souls. (p. 241) Yet, instead of a swarm of angels, Jung encountered a throng of the dead, perhaps real or imagined figures, whose questions he sought to answer through his life’s work. Jung (1961/1989) indicated that the Liverpool dream provided him the first inkling of his personal myth (p. 199). Shamdasani (2013) has suggested Jung did not realize his own myth until 1930 (p. 62), which coincided with the probable timeframe that he painted image 169. That Jung had reached a turning point around 1927 and 1928 supports the hypothesis that with image 169 he was trying to synthesize a plethora of ideas, which had incubated within his personality since childhood. That one can find common themes in Jung’s Liber Novus paintings, such as the Liverpool dream, suggests that the images, in some cases, are interrelated. It is also helpful to discuss the symbolism of the blue flower in relation to German Romanticism, which Jung was well aware of. The blue flower became an important symbol for the German Romantic movement of the early 19th century. One of the first references of the blue flower in Jung’s work appeared in Psychology and Alchemy, which was originally published in the 1936 Eranos Yearbook. Jung (1944/1968) analyzed a

306 TREASURE HUNTING series of dreams of the physicist Wolfgang Pauli. In one of the dreams, Pauli encountered a blue flower during a long walk (CW12, para. 100). To Jung, the blue flower was a symbol which recalled “a more romantic and lyrical age . . . when the scientific view of the world had not yet broken away from the world of actual experience—or rather when this break was only just the beginning” (para. 101). Jung viewed Pauli’s dream as a historical regression to the German Romantic period from where the symbol of the blue flower arose. However, Jung’s analysis of Pauli’s dream failed to mention the German Romantic poet Georg Philipp Friedrich Freiherr von Hardenberg (1772-1801), better known as Novalis, who introduced the blue flower in his book Henry of Ofterdingen. The Romantic German writer E. T. A. Hoffmann (1776-1822) further popularized the blue flower in his short work “News from the Most Recent Fate of the Dog Berganza.” Jung’s omission is surprising because by the mid-1930s he likely knew about the historical and literary origins of the blue flower symbol. In 1938, Jung (2014) dedicated an entire section of a seminar to analyzing the significance of dreams in German Romanticism, wherein he mentioned the blue flower. As to its meaning, he wrote: “The image of the blue flower is an attempt to integrate the multiplicity into a whole, into a unity, and thus create a counterweight to the chaos of intruding archetypes” (p. 77). Jung also cited Novalis in regards to the Romantic poet’s views on dreams (p. 78). Novalis completed the first part of the Henry of Ofterdingen in 1800 not long before his death. In this allegorical romance, a blue flower frequently appears in the dreams and visions of the 20-year-old protagonist Henry: “I am often full of rapture, and it only when the blue flower is out of my mind, that this deep, heart-felt longing overwhelms me” (Novalis, 1802/1842, p. 24). The blue flower suggests a deeply rooted

307 TREASURE HUNTING symbol that arises from the archetypal imagination and seems associated with the motifs of death and rebirth, as evidenced by the following passage: “Then came death, a return again to life; he loved, loved intensely, and was separated from the object of his passion [the blue flower]” (p. 24). Henry subsequently describes a dream wherein he finds the blue flower: But he saw the Blue flower alone, and gazed long upon it with inexpressible tenderness. He at length was about to approach it, when it began to move, and change its form. The leaves increased their beauty . . . . The flower bended towards him, and revealed among its leaves a blue, outspread collar, within which hovered a tender face. (p. 26) Upon waking from the dream, Henry recounts the dream to his parents. His father admits that he too once dreamed of the blue flower. Henry and his mother embark on a journey to Augsburg to visit her father. Upon arriving to Augsburg he meets a girl named Matilda, who he falls in love with. Henry later likens Matilda to his dream of the blue flower: “Do I not feel as I felt in that dream about the blue flower? What peculiar connection is there between Matilda and that flower? That face, which bowed towards me from the petals, was Matilda’s heavenly countenance” (p. 133). Henry also compares Matilda to a precious stone “Dear Matilda, I might call you a pure and costly sapphire” (p. 138). This passage seems suggestive of the “The sapphire blue flower of the hermaphrodite,” which Jung (1944/1968) alluded to in Psychology and Alchemy (CW12, para. 101). After a brief courtship, Henry marries Matilda with the blessing of her father.

308 TREASURE HUNTING Although Novalis did not complete the novel, his reconstructed draft notes suggest that Matilda succumbs to an untimely death. The unpublished second part of the novel, titled “The Fulfillment,” displays a more poetic narrative rich with mythological allusions and sublime metaphors. In a sense, it reads like a mythic embodiment of the poet’s destiny, or put differently, the individuation of Henry. If the second part of the work were completed, it would intimate a transition into the invisible world of the unconscious, that is to say, the land of the dead: “the highest life proceeding from the stillest death; he has lived among the dead and conversed with them” (Novalis, 1802/1842, p. 222). Henry sets out on a series of adventures. After lengthy travels, he reaches a wonderful land “in which air and water, flowers and animals, differ entirely from those of earthly nature . . . The world of fable is again visible; the real world is itself regarded as fable” (p 225). Novalis wrote that “Henry finds the blue flower; it is Matilda, who sleeps and has the carbuncle” (p. 226). A little girl sits by a coffin and renews his youth. She is the child of Henry and Matilda. According to Novalis, “This child is the primeval world, the close of the golden time” (226). Viewed psychologically, the child is a product of the union between Henry’s conscious personality and his anima, a reconciling symbol that unites the opposites (e.g., masculine and feminine, yin and yang). Henry proceeds to pluck the blue flower and delivers Matilda from her enchantment but she is lost to him again. (p. 226). That Henry associates the blue flower with Matilda, the object of his love, merits further commentary. Matilda is to Henry what Beatrice is to Dante and Gretchen is to Faust, that is to say, they all represent anima images and accordingly suggest a journey into the deep interior of the unconscious. Matilda’s death represents a dissolution of the

309 TREASURE HUNTING anima. Thus, the blue flower appears as a symbol of individuation and its presence suggests a guidepost pointing toward the self. In the most basic sense, Henry of Ofterdingen displays in archetypal terms the relationship between the conscious personality and the anima, which once integrated makes possible the realization of the self. Blue star. In his Collected Works, Jung commented on the painting of a star that bears a striking resemblance to the luminous blue object in image 169. Jung (1950/1968b) indicated that the “picture shows the self appearing as a star out of chaos. The four-rayed structure is emphasized by the use of four colours” (CW9i, para. 683). As discussed in chapter 5, a reference to blue starlight appears several times in Liber Novus. Jung alluded to a star in his “The Seven Sermons to the Dead” as well. Jung’s commentary on Systema Munditotius also sheds some light on the blue star motif. In Appendix C of Liber Novus, Jung compared the individuation process (principium individuationis) with a star while describing his Systema Munditotius. According to Jung (2009), an inverse relationship exists between the pleroma and the individual, which is symbolized by a star: “The more concentrated the Pleroma becomes, the stronger the star of the individual becomes” (p. 371). In the commentary, Jung used a verse from the Mithraic Liturgy to describe this phenomenon: “I am a star, wandering about with you” (p. 371, n. 1). Jung assigned significant value to the foregoing verse, which is demonstrated by the fact that he carved it into his Bollingen stone. It is also noteworthy that Jung mentioned the Mithraic Liturgy in relation to the Shri-ChakraSambhara Tantra in the ETH Lectures. Jung directly compared verses from the Shri-

310 TREASURE HUNTING Chakra-Sambhara Tantra with the Mithraic Liturgy wherein he noted parallels. He pointed out that both texts provide instructions for ways to safely interact with the gods through propitiatory gestures. Both texts also have apotropaic qualities. Jung alluded to several other stellar metaphors. For instance, in Appendix C of Liber Novus, Jung further wrote: Just like the sun, which is also such a star, which is a God and grandfather of souls, the star of the individual is also like the sun, a God and grandfather of the souls. He is visible from time to time, just as I have described him. His light is blue, like that of a distant star. He is far out in space, cold and solitary, since he is beyond death. To attain individuality, we need a large share of death. (p. 371) Jung subsequently borrowed a verse from the Bible to describe the foregoing passage: “You are gods” (John 10:34). The verse suggests that humankind is connected to something eternal, which viewed through a depth psychological lens likely refers to the archetype of the self. Jung observed: “But you have in you the one God, the wonderfully beautiful and kind, the solitary, starlike, unmoving, he who is older and wiser than the

Figure 18. Original draft of Systema Munditotius, (Jung, 2009, p. 363). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung.

Figure 19. Final version of Systema Munditotius, (Jung, 2009, p. 364). From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung. and Robert Hinshaw.

311 TREASURE HUNTING father” (p. 371). Jung associated this God with Abraxas. “You are the suffering heart of your one star God, who is Abraxas to his world” (p. 371). Furthermore, Jung seems to have alluded to the general meaning of his apocatastasis of the dead by suggesting that the individual needs a large share of death. Jung added that the soul produces blue starlight at the midpoint of man (p. 371), which corresponds to the original draft of Systema Munditotius (Figure 18), where man, Anthropos, and his human soul106 are positioned at the center of the mandala atop what appears as a ten-pronged blue star, which is located at the center of sixteen radial sections. The soul (i.e., anima/animus), Jung suggested, serves as an intermediary between man and God (i.e., self). Jung (2009) wrote: “You should call me if you want to live with men, but the one God if you want to rise above the human world to the divine and eternal solitude of the star” (p. 371). It is also important to note that Jung’s later version of Systema Munditotius (Figure 19), appears as an eight-pronged star, apparently a more refined version of the original tenpronged star. The foregoing analysis suggests that whether a blue star or a lotus-flower, the central object of the image is likely a symbol of the self, which Jung (1928/1966) viewed as the goal of individuation: The self is also the goal of life, because it is the most complete expression of that fateful combination we call individuality. The full flowering not only of the single individual but of the group, in which each adds his portion to the whole. (CW7, para. 404) Jung’s words seem to articulate the apocatastasis of the dead in more conceptual terms.

In Jung’s (2009) legend to his original draft of Systema Munditotius, he indicated that the large “A” corresponded to Man (Anthropos) and the small “A” to the human soul (p. 363; Black Book 5, p. 369). 106

312 TREASURE HUNTING Faces and Skulls One hundred and twenty seven faces and skulls round out the image. The foregoing commentary on the rainbow burst and the blue lotus-flower or star provide helpful context for what Jung was likely trying to convey with such a motif. The 127 faces, a number that seems arbitrary,107 suggest a dynamic portrayal of Jung’s relationship to the dead. Just as Odysseus was met by a throng of the dead from Erebus, Jung encountered his dead in an active imagination, a fantasy in the form of a painting. The faces are peculiar, for as I have mentioned, they seem, in some cases, to represent real historical figures—Swedenborg, Goethe, and Kant. In other instances, faces suggest actual family members such as Jung’s father. Yet, others assume the form of mythological figures or active imaginations that spontaneously appeared to Jung in his fantasies and dreams. Such a peculiar depiction of faces raises an important question. Why did Jung not include other figures that had a major influence on his life and work, such as Nietzsche? His likeness, which would be easily recognizable, does not appear in the painting. As discussed in Appendix A, there are a number of faces that I was not able to associate to any historical person or personified fantasy in Liber Novus. The faces that seem to most conspicuously resemble individuals that Jung is known to have held in high regard include, among others: Paul Jung, Swedenborg, Goethe, Kant, Philemon, Ezechiel, Odysseus, and Abraham Lincoln. All the figures listed above influenced Jung’s life and ideas, to a greater or lesser extent. Abraham Lincoln is the only outlier in the assemblage

107

It is important to note that when one applies the numerological rule of adding the digits of a whole number, 127 equals one, which viewed in archetypal terms suggests a unity or wholeness (1 + 2 + 7 = 10 = 1 + 0 = 1).

313 TREASURE HUNTING of spirits, however, Appendix A shows that Jung admired Lincoln and praised him in a letter. Although one cannot say for sure, it is possible that Jung had intended to include other notable figures in image 169 but never found the time or willingness to finish the painting. It is also important to note that because many of the faces are rendered too vaguely to identify, Jung could have depicted Nietzsche and other individuals in the painting, but they are not recognizable. As I have taken up the hermeneutic task of examining the individual faces elsewhere,108 I will refrain from their analysis in this section and instead focus on how the faces and skulls might relate to Jung’s personal myth and individual cosmology. First and foremost, the array of faces suggests a relationship with Jung, whose likeness is apparently not present in the image.109 Instead, it seems likely Jung was representing himself, his personality, as the central image of the blue lotus-flower or star, an observation that we will later revisit. This hypothesis is principally based on Jung’s reading of Zimmer’s Artistic Form and Yoga in the Sacred Images of India, the ShriChakra-Sambhara Tantra, excerpts from Liber Novus, and Jung’s commentary on his first mandala, Systema Munditotius, which was discussed above. Chapter 11 of Memories, Dreams, Reflections also provides a plethora of insights in regards to the possible relationship between image 169 and Jung’s personal myth. Jung (1961/1989) related an incident that occurred to him in 1911 while writing Symbols of Transformation. In a dream he found himself “in an assemblage of distinguished spirits of earlier centuries” (p. 307). A man with a long, curly wig asked Jung a difficult

108

See Appendix A. Gnostic scholar Lance Owens has opined that one of the faces (#6) depicts Jung. This face however does not reflect the likeness of a 55-year-old man in 1930, which as indicated was likely when he painted image 169. 109

314 TREASURE HUNTING question in Latin, which upon waking he was not able to recall its details. The dream prompted Jung to think about the book he was currently working on, which apparently contained the answer that the dream figure was seeking. Jung wrote: The bewigged gentleman was a kind of ancestral spirit, or spirit of the dead, who had addressed questions to me in vain! It was still too soon, I had not yet come so far, but I had an obscure feeling that by working on my book I would be answering the question that had been asked. (p. 307) The dream seemed to form the beginning of Jung’s eventual realization that the dead’s knowledge was limited by what they had learned during their earthly existence and thus required psychic communion with a living personality to attain new knowledge. Jung further suggested The maximum awareness which has been attained anywhere forms, so it seems to me, the upper limit of knowledge to which the dead can attain. That is probably why earthly life is of such great significance, and why it is that what a human being “brings over” at the time of his death is so important. Only here, in life on earth, where the opposites clash together, can the general level of consciousness be raised. (p. 311) It is clear that in his mature years Jung had gradually drifted towards metaphysical territory with his speculations, however he never hesitated to confine the scope of his ideas to the province of the psyche. One could say that Jung relied on the postulate of psychic realism to qualify his theories and propose the tenable possibility that consciousness could exist beyond a biological substrate. A letter Jung (1973) wrote in 1930 throws rare light onto his thinking regarding this topic:

315 TREASURE HUNTING Bergson is quite right when he thinks of the possibility of a relatively loose connection between the brain and consciousness, because despite our ordinary experience the connection might be less tight than we suppose. There is no reason why one shouldn’t suppose that consciousness could exist detached from the brain. Thus far there is no difficulty for our assumption. (p. 76) In 1952, Jung (1976) further opined that The brain might be a transformer station, in which the relatively infinite tension or intensify of the psyche proper is transformed into perceptible frequencies or “extensions.” Conversely, the fading of introspective perception of the body explains itself due to gradual “psychification”, i.e. Intensification at the expense of extension. Psyche = highest intensity in the smallest space. (p. 45) Jung’s conjecture underscores his thinking on the apparent complementary relationship between psyche and matter and suggests that the psyche proper cannot be reduced to a purely material explanation, but rather should be viewed as complementary to matter. Elsewhere, Jung (1954/1969a) echoed this sentiment when he wrote “The psyche is the greatest of all cosmic wonders and the sine qua non of the world as an object” (CW8, para. 357). This radical kind of thinking seems to coincide with an idea put forward by the philosopher Pierre Teilhard de Chardin, which he articulated as follows: “Matter is spirit moving slowly enough to be seen” (Teilhard de Chardin as cited in Langenberg, 2013, p. 31). Whatever the case, it is clear that toward the end of his life Jung had become less hesitant about expressing controversial viewpoints, particularly as they relate to life after death. It is as if in old age, particularly after his 1944 near-death experience, an emboldened Jung (1961/1989) had reverted to his number two personality (p. 45).

316 TREASURE HUNTING Jung was cautious about proposing any specific scientific explanation for his opinions, and instead turned to myth to support his contentions. “Myth,” Jung observed, “is the natural and indispensable intermediate stage between unconscious and conscious cognition” (p. 311). One could say that myths are predicated on the image-making function of the psyche for the unconscious finds its best expression through symbols, on which myths are based. As Jung suggested, symbols could be viewed as gateways into the unconscious and by extension the timeless sphere of eternity. Myth connects man to the past, his ancestors, and the entire span of human history. Jung considered modern science as chiefly responsible for inadvertently weakening any mythological formulation of an afterlife. Jung wrote, “Critical rationalism has apparently eliminated, along with so many other mythic conceptions, the idea of life after death” (p. 300). Jung believed that the gradual transformation of the myth-making function into abstract conceptualizations had taken a toll on the Western psyche. He observed that “The more the critical reason dominates, the more impoverished life becomes; but the more of the unconscious, and the more of myth we are capable of making conscious, the more of life we integrate” (p. 302). The image then, with its 127 faces seemingly spread out across time, suggests a pictorial representation of the unconscious, the land of the dead. Based on his empirical studies, Jung reasoned that the psyche is built on multiple layers that reach back into to the earliest periods of evolutionary development. Jung documented an early dream that figuratively described this concept. Jung dreamed of a two-story house he identified as his own. The top story was furnished with familiar pictures and domestic trappings. Upon descending the stairs to the first floor, Jung encountered medieval furnishings that

317 TREASURE HUNTING originated from the 15th and 16th centuries. Exploring his surroundings, Jung found a large door that led to a stone stairway that he descended to find himself in an ancient vaulted room that dated from Roman times. Looking around, Jung spotted a stone slab equipped with a ring, which he lifted and discovered yet another stairway of narrow stone steps. Upon descending these steps, Jung found himself in a low cave carved into the rock of the earth. On the dusty ground, Jung observed scattered bones, broken pots, and two human skulls that were very old (p. 159). Jung’s dream, which is reminiscent of image 169, suggested to him that the unconscious was the sum of all images that comprised the world’s mythologies and religious traditions. In this way, the unconscious, in both its collective and personal variants, could be viewed as a dynamic system of active processes that forms a compensatory relationship to the conscious mind. “Everything that is alive in the psyche,” Jung (1921/1971) opined, “shimmers in rainbow hues” (CW6, para. 854). As previously suggested, the figures of the unconscious, personified contents, require a living personality to attain knowledge. One’s relationship to the unconscious evokes a communion with the dead, and by extension what Jung termed as his “assemblage of distinguished spirits” whose questions were supplied with his answers. These answers found expression through Jung’s extended corpus. Jung’s reading the Shri-Chakra-Sambhara Tantra seems to have advanced his understanding of what he had documented in The Black Books and Liber Novus, in particular “The Seven Sermons to the Dead,” which formed, as it were, the original blueprint for the apocatastasis of the dead. That Andreas Jung (2011) associated the seventh sermon to the dead to image 169 merits additional commentary. In the seventh sermon, Jung (2009) concluded his teaching to the dead through Philemon, declaring that

318 TREASURE HUNTING man is a gateway, and suggested that “a star is the God and goal of man” (p. 354). Jung added “toward him goes the long journey of the soul after death, in him everything that man withdraws from the greater world shines resplendently” (p. 354). Jung’s words tend to resonate with the composition of image 169. The dead are drawn to the blue object, wherein the individuation process take place. The peculiar picture suggests an individual who aspires to reconcile the opposites within himself and cultivate a relationship with the self, not to advance the provisional aims of the ego, but to build a community of consciousness with the greater whole. The Eastern equivalent of such an idea is evinced in the role of the Bodhisattva of Mahayana Buddhism. Motivated by great compassion, the Bodhisattva is a person who postpones nirvana to assist all “sentient beings” attain their own. Jung suggested that his dead could vicariously benefit from his own individuation process, which seems to parallel the role of the Bodhisattva. It is important to point out that Jung did not abandon empirical psychology for Eastern spirituality; on the contrary, one could say that he attempted to bridge East and West with a middle way, by which one could experience the best of both worlds and not succumb to the extremes of worldly denial on the one hand and scientific materialism on the other. Accordingly, Jung seems to have sought out a path by which he could straddle the opposites and steer towards a third intermediate option (i.e., tertium non datur) via a uniting symbol. Such a mediating position could enable one to realize a deeper order meaning without having to transcend the ego. Thus, Jung saw no practical value in the dissolution of the Western ego and recognized that what is generally understood as nirvana is not the goal of individuation. As Keiron Le Grice (2016) has pointed out: “For Jung (following Heraclitus), the tension between opposites can never be resolved. Thus,

319 TREASURE HUNTING the ego-unconscious dialectic remains. This does not appear to be the case in Buddhism” (p. 87). Individuation is a continuous process, a life-long attempt to reconcile the opposites and come to terms with one’s psychic wholeness, to which the dead belong. However, the apocatastasis, as I have defined it, suggests that individuation may even continue after physical death, when and where the dead may endure as a multiplicity of centers that throng around the living like moths attracted to a flame. The rainbow burst, as previously discussed, symbolizes the four functions of consciousness that dynamically underpin the process of individuation. While enunciating his mantra, the Eastern adept apparently had something similar in mind: “ ‘May all sentient beings enjoy happiness and be endowed with the cause thereof’ – ‘May they be freed of all pain and of the causes thereof’ – ‘May they never be separated from the highest happiness’ ”110 (Avalon, 1919, p. 6). Jung likely noted these parallels and observed that the Buddhist was describing an Eastern analogue of his own ideas. Considering the insights gleaned from Systema Munditotius, Zimmer, and the ShriChakra-Sambhara Tantra, one could hypothesize that Jung was actually depicting himself within the blue-lotus flower or star. That Jung positioned man, humankind, at the center of his own psychocosmological system, Systema Munditotius, suggests that he believed that the individual played an essential role in the universe. In regards to this idea, Jung (1961/1989) wrote “that man is indispensable for the completion of creation; that, in fact, he himself is the second creator of the world” (p. 256). Perhaps he was suggesting that through his own individuation, he could gradually restore his dead by answering their questions. To reiterate, a general soteriological theme seems present in

110

Jung marked a line near this passage in his personal copy of Volume Seven of The Tantrik Texts, which contained the Shri-Chakra-Sambhara Tantra.

320 TREASURE HUNTING Jung’s work, which is largely predicated on the reality of the psyche and humankind’s ascendant role as the cocreator of the world. Because Jung now belongs to the great legion of shades that have come and gone before us, we will never know for certain, but one can speculate, wonder, and perchance gain an inkling, however miniscule, about what he intended to convey through such a painting. Implications for Understanding Jung’s Personal Myth It took Jung nearly 55 years to realize his personal myth, which occurred at the end of his confrontation with the unconscious between 1928 and 1930. Although Jung’s confrontation with the unconscious was in its most intense stages between 1913 and 1918,111 it is important to point out that he continued to dialogue with his soul and other fantasy-images well into the 1920s. For instance, Jung did not stop documenting fantasies and active imaginations in his Black Books until 1932, not long after he stopped writing in Liber Novus (Shamdasani, 2012, p. 170). His dreams, another aspect of his confrontation of the unconscious, also informed his Red Book material during this timeframe. Thus, one could say that his confrontation with the unconscious did not abruptly stop but persisted, albeit with diminishing effects, for a much longer period of time, arguably until the end of the 1920s and beginning of the 1930s, when he turned his interests to the world and sought out parallels for his psychology in religion and alchemy. This time period serendipitously coincided with Jung’s study of Wilhelm’s Secret of the Golden Flower and Zimmer’s Artistic Form and Yoga in the Sacred Images of

Although Jung’s Black Books and his draft manuscripts indicate that the majority of his fantasies took place between October 1913 and June 1916, he continued to document new fantasies (e.g., Ka, Ha, Phanes, Atmavictu, etc.) into The Black Books. Jung was simultaneously recording these new fantasies into Black Books 6 and 7 while he was transcribing older material from his drafts to Liber Novus (Shamdasani, 2009, p. 207). For additional information, see Appendix C. 111

321 TREASURE HUNTING India. Jung’s investigation of Eastern religion supplied him with an abundance of crosscultural material to further advance his hypotheses of archetypes, the collective unconscious, and other manifestations of psychic reality. As in Jung’s study of alchemy, Eastern religion and philosophy uncovered substantial evidence for his theories. There was something else in the East however that seemed to form, as it were, the nucleus of his personal myth. On April 17, 1917, Jung noted an intensive unconscious relation to India in Liber Novus. Thus, Jung’s personal myth seems to have culminated with a figurative journey to the East where the sun is continuously reborn, a motif that Jung referred to as the night sea journey, which symbolizes one’s effort to adapt to the conditions of inner psychic life. In Liber Novus, Jung (2009) seems to have foreshadowed his exploration of Eastern religion and philosophy when he wrote: And so I wander to the Far East. Not that I know anything about what my distant goal might be. I see blue horizons before me: they suffice as a goal. I hurry toward the East and my rising—I will my rising. (p. 277) Jung added “And I threw everything from me and wandered toward the East, where the light rises daily. I went to the East like a child” (p. 279). The wisdom found in the East seems to have provided Jung with a sense of psychic orientation, and a partial road map, to navigate his own individuation journey. As indicated in chapter 4, Jung (1973) wrote a letter to Victor White in 1948, which read: “You see, something has taken me out of Europe and the Occident and has opened for me the gates of the East as well, so that I should understand something of the human mind” (p. 491). Jung’s study of Eastern religion then suggests that his 1928 discovery of the Secret of the Golden Flower opened a window into the workings of the

322 TREASURE HUNTING psyche through which he could glimpse vast panoramic vistas that otherwise he likely would have not realized. In a letter dated February 25, 1960, Jung (1976) indicated that he had renewed his interest in Buddhist texts. With his health declining, he casually alluded to the Buddhist doctrine of the bardo. “I wanted to notify myself that it was I who was fetched out of the present and transported into the neighborhood of the bardo, which always happens when I hear such a distinct memento mori” (p. 544). Jung’s reference to the bardo112 state suggests that he was reading The Tibetan Book of the Dead, which describes the intermediate state between life and death. Lauf (1977) has provided some helpful commentary in regards to the existential implications of the bardo: Here in the manifest world of existence it is possible consciously to direct one’s life by coming to terms with the objective world, although only a few take advantage of these possibilities. Therefore, The Tibetan Book of the Dead continually instructs the awareness-body wandering through the bardo to recall the teachings it received during earthly life, which are said to be of considerable assistance for the path beyond. Conscious recall of wisdom previously learned and experienced in life is the best means of finding one’s way through the bardo. It is believed that the practice of yoga gives awareness the ability to find its way, even in the difficult conditions of the bardo. (p. 44) One could say that Jung’s study of the bardo existence towards the end of his life indicated he was psychologically preparing himself for his own imminent death. In a subsequent letter dated March 30, 1960, Jung (1976) indicated that his renewed interest in Buddhism was prompted by the question of karma and rebirth (p.

The Tibetan term bardo literally translates to “in-between” state. In Buddhism, it describes the intermediate condition of the soul between death and rebirth. 112

323 TREASURE HUNTING 548). It merits mention that in chapter 11 of Memories, Dreams, Reflections, Jung (1961/1989) wrote that “The crucial question is whether karma is personal not” (p. 317). Although the Buddha left the question unanswered, Jung wondered whether it was a product of our ancestors whose legacy we inherit. Elsewhere, Jung (1935/1969) suggested that “we may cautiously accept the idea of Karma only if we understand it as psychic heredity in the very widest sense of the word” (CW11, para. 845). As was discussed in chapter 5, karma seems to have presented Jung (1961/1989) with a psychophysical process which could functionally support apocatastasis, or “give an answer to the question of the interplay between the “here” and the “hereafter”” (p. 299). By falling short of nirvana, “the soul,” Jung wrote, “relapses again into the desires and returns to life once more, perhaps even doing so out of the realization that something remains to be completed” (p. 322). Zimmer (1926/1984) too alluded to this question in Artistic Form and Yoga in the Sacred Images of India, wherein he wrote: The Buddha left unanswered the great question as to how one was to conceive the mundane existence of the Released One who had successfully escaped the bonds of error and ignorance (avidya) and crossed over the flood of samsara onto the shore of Nirvana. Language, which is a mental reflection of the phenomenal world and of experience of Self, is completely at a loss when it has to characterize a condition in which world and Self have ceased to be. (pp. 82-83). That Jung marked a line to the left of this passage in his personal copy of Artistic Form and Yoga in the Sacred Images of India underscores his interest in such a question at a time (1930) when he was trying to refine and amplify his ideas. Jung’s reliance on Buddhism and Eastern religion to address such complex questions of life and death

324 TREASURE HUNTING recalls his 1928 synchronistic encounter with The Secret of the Golden Flower. Thus, it seems that Eastern religion in general, and Buddhism in particular, supported Jung’s understanding of life after death and how what we do in the present has far-reaching implications to the future. That Jung had renewed his interest in Buddhism suggests that he considered its message of the highest psychological value, especially in light of what we have discussed regarding the apocatastasis of the dead in that Jung saw parallels between the relationship between life and death and consciousness and the unconscious. One can discern a common thread connecting Jung’s confrontation with the unconscious, his painting of image 169, his late thoughts on life after death, and his eventual return to Buddhist teachings, whereby he had discovered a vast repository of archetypal material to vet his theories and test his empirical observations. The foregoing analysis in regards to the likely relationship between Jung’s personal myth and image 169, seems bolstered by the fact that he viewed his psychology as a preparation for death (1985, Bennet, p. 16). Thus, the meaning of Jung’s personal myth was apparently bound up with his relationship to the dead. Shamdasani (2008) pointed out that Jung discussed this very issue with Aniela Jaffé on June 13, 1958, saying that a people could only find their myth if they were together with their dead (p. 26). The apocatastasis, as I have described it, refers to the integration of unconscious contents, which runs parallel to the religious idea of the descensus ad inferos, discussed in chapter 5. In image 169, Jung was apparently attempting to formulate a psychological solution to a problem that was traditionally addressed by religion, as originally conceived by St. Paul and Origen. By accepting the lament of the dead and renewing the Christian myth with the wisdom from the East, Jung had ostensibly found a new myth to live by, one that was not predicated on

325 TREASURE HUNTING blind submission to a wayward god or Western values but on the immediacy of psychic reality and a relationship to the interior world of the soul. Inner work is our work, and when one accepts that the dead are still with us, the invisible becomes manifest, which one could say leads to a general increase in consciousness. As Jung (1961/1989) observed, “the more of the unconscious, and the more of myth we are capable of making conscious, the more of life we integrate” (p. 302). Implications for Understanding Jung’s Psychology As previously discussed, image 169 seems to figuratively describe key tenets of Jung’s psychology, to include his typological system, the collective unconscious, the archetype of the self, individuation, and what I have termed the apocatastasis of the dead. The image suggests that Jung had arrived at a turning point around 1930. By this time, complex psychology113 had become a comprehensive mosaic of interrelated ideas or what Jung (1921/1971) described as a “mediatory science” (CW6, para. 72). The image also demonstrates to what degree Jung relied on a wide-range of interdisciplinary areas of study to corroborate his theories, which is exemplified by the way he sought to synthesize his ideas from a variety of analytic and cross-cultural sources, to include alchemy and Eastern religion. Although a self-declared empiricist, Jung was not afraid to speculate on otherwise controversial subjects if they were supported by psychic experience. One could say that

113

Although Jung initially designated his system of thought analytical psychology, he changed the name to complex psychology in the 1930s. Jung still occasionally referred to his psychology as analytical psychology but this term was later reserved for analytic methods and psychotherapeutic applications. Complex psychology on the other hand addressed the theoretical aspect of his psychology. Jung wrote that “complex psychology means the psychology of ‘complexities,’ i.e., of complex psychical systems in contradistinction from relatively elementary factors” (Jung as cited in Shamdasani, 2003, p. 14). One of the principal reasons the term complex psychology never gained widespread usage was because it was never adopted in the English-speaking world, which is and was the biggest proponent of Jung’s psychology.

326 TREASURE HUNTING Jung’s brand of empiricism was participatory and mediatory in the sense that the individual represented the psychic medium that could unite the inner idea with the external thing through lived experience (esse in anima). Jung was not as concerned about proving a hypothesis as much as demonstrating that its archetypal idea was universally present in the psyche. In Jung’s view, the psyche was not an object of science, but rather science was an object of the psyche. Accordingly, any science that deals solely in dogma cannot come to terms with the reality of the psyche. Jung (1931/1961) underscored this point when he wrote: It is permissible for science to divide up its field of inquiry and to operate with limited hypotheses, for science must work in that way; but the human psyche may not be so parceled out. It is a whole which embraces consciousness and it is the mother of consciousness. Scientific thought, being only one of the psyche’s functions, can never exhaust all its potentialities. (CW4, para. 783) Jung’s psychology relies on the empirical study of the universality of human experience. That Jung could find parallels between cultural motifs of the East and West, suggested to him that both Western and Eastern religion originated from a common archetypal background, which explained their general similarities. Image 169, and the ideas it apparently contains, demonstrate that complex psychology was not comprised of intellectual formulations, but rather, as Jung (1954/1968b) wrote, “names for certain areas of experience” (CW9i, para. 485). This feature of Jung’s psychology highlights the role phenomenology played. That the anima appears to everyone in different forms and at different times was sufficient to empirically demonstrate its psychic reality. Jung (1976) emphasized the empirical foundation of his

327 TREASURE HUNTING psychology in a letter to Jolande Jacobi in 1956, where he stated that his psychology was not predicated on “philosophical assumptions” but “observed facts” as evidenced by “natural law.” (p. 294) Under such a rubric, the dead too could be viewed as real for they, like the shadow and anima, still affect us, whether they are personified psychic contents or genuine spirits. What we call something or where it comes from does not change the fact that it affects us. Thus, one could say that effects constitute a sufficient condition: “The dead produce effects, that is sufficient” (Jung, 2009, p. 298). Symbols can appear as both a star and flower simultaneously, in fact, both things share many of the same attributes— bright, beautiful, circular, radiating. Jung first and foremost dealt in psychic facts rather than concrete ones. Viewed this way, the dead, however one defines them, continue to have a relationship with the living, but just happen to be more unconscious now that they belong to the invisible world below and beyond the familiar stratum of consciousness. Jung (1954/1968a) emphasized this point when he wrote: “complex psychology on the one hand is making as fully conscious as possible the constellated unconscious contents, and on the other hand in synthetizing them with consciousness through their recognition” (CW9i, para. 84). That is one of the central aims of Jung’s psychology, to make manifest the invisible, and a way one can achieve such a task is by formulating a common language to assign names to phenomena, then classifying and ordering them accordingly. Jung was a thinker that possessed the rare ability to combine a wide range of ideas into his work, whether it was in the form of an essay or a painting. Finally, because “The psyche consists essentially of images”114 (Jung, 1926/1969, CW8, para. 618), a painting

Jung (1921/1971) wrote “When I speak of “image” . . . I do not mean the psychic reflection of an external object, but a concept derived from poetic usage, namely a figure of fancy or fantasy-image, which 114

328 TREASURE HUNTING could describe psychic facts just as well as a scientific treatise or a copy of Moby Dick. In Artistic Form and Yoga in the Sacred Images of India, Zimmer (1926/1984) suggestively wrote: Image and word, as revelations of the Divine, contain statements concerning the essential nature of the divine cosmic order, and they incorporate the higher Truth. They are Truth in the purest form that a consciousness, bound in duality, is capable of envisaging. (p. 33) Jung marked a line to the left of the foregoing passage, which suggests that at the time he read it he had acknowledged how both word and image could express psychological truths. The same syncretic impulse that is evident within Jung’s writings is also likely present in image 169.

is related on indirectly to the perception of an external object. This image depends much more on unconscious fantasy activity, and as the product of such activity it appears more or less abruptly in consciousness, somewhat in the manner of a vision or hallucination, but without possessing the morbid traits that are found in a clinical picture” (CW6, para. 743).

329 TREASURE HUNTING Chapter 7 Conclusion Restatement of Findings This dissertation explored plausible interpretations of image 169 and considered how it relates to Jung’s personal myth and individual cosmology. Corollary to this aim, I examined other topics of interest that could advance an understanding of the research problem such as what Jung was trying to convey with image 169, ascertaining the identity of the figures in image 169, identifying the timeframe Jung painted image 169, addressing Jung’s use of color in the image, considering how image 169 relates to other paintings in Liber Novus as well as Systema Munditotius, and finally contemplating how the image relates to Jung’s apocatastasis of the dead. All the aforementioned areas were explored and addressed in varying degrees. I also reviewed and discussed select events that occurred before 1913 to show how Jung’s fantasy images evolved in lockstep with his personal development and eventually culminated in the realization of his personal myth. One could say that Jung reached a turning point in his life when he confronted the unconscious and, as it were, descended into the dark night of his soul. As a result of the aforementioned event he was able to come to an understanding of the objective nature of the psyche and later described these experiences in both phenomenological and psychological terms. Jung subsequently discovered parallels of his own experiences in the fantasies of his patients and through the study of religion and alchemy. Likely around 1930 Jung turned to a blank page in Liber Novus, and proceeded to paint image 169. That the image has a certain holographic character suggests a work sui generis. Jung seems to have incorporated some of his psychology’s core ideas into image 169 in pictorial form. These ideas range from the collective unconscious, his typological

330 TREASURE HUNTING system, individuation, and what I have termed his apocatastasis of the dead. The painting ostensibly represents a capstone of Jung’s vision of complex (i.e., analytical) psychology. In Liber Novus, Jung seems to have outlined the relationship between the living personality, in this case his own, and the community of the dead, which, he believed, continue to exert an influence on the living in both physiological and psychological ways. I also presented an overview of the parts of Liber Novus that addressed the abovementioned topic. Jung provided extended commentary on this idea in chapter eleven of Memories, Dreams, Reflections. He employed three principal motifs in image 169 to express and better understand his fantasies. Jung cast these symbols in the form of a rainbow burst, 127 faces and skulls, and what appears as a blue star or lotus-flower. I further pointed out that because of the nature of the symbol, one should not view the aforementioned motif as mutually exclusive of one or another interpretation, for symbols are the best possible expression of something mostly unknown; thus the blue orb could represent both a star and lotus-flower simultaneously. Furthermore, I identified Jung’s study of Eastern religion, analytic case material, and his confrontation with the unconscious, as the three main sources that influenced his rendering of the painting. A careful study of Jung’s interests and activities during the late 1920s and early 1930s suggests that Kristine Mann’s paintings as well as Jung’s reading of Zimmer’s Artistic Form and Yoga in Sacred Images of India, played a formative role in the painting of image 169. The Tantric text Shri-Chakra-Sambhara Tantra also seems to have advanced Jung’s understanding of what he documented in The Black Books and Liber Novus, in particular “The Seven Sermons to the Dead,” which informed his understanding of a psychological version of apocatastasis. Jung’s rare ability of finding

331 TREASURE HUNTING parallels in other fields of study is exemplified by image 169, as he seems to have correlated his psychological concepts with Eastern religious ideas. The painting intimates a relationship between the individuating ego and the archetype of the self in the midst of a multiplicity of psychic centers, which find expression in the form of the dead. Because Jung remained ambivalent in regards to who or what the dead were, it is problematic to constrict the phenomena to any specific meaning. I also proposed that Jung was depicting himself in symbolic form—his personality—within the image of the blue orb, pointing out that Jung’s role in such an exhibition is comparable to that of a Bodhisattva. Jung’s phenomenological approach to the unconscious focuses on the description of effects, which one could just as well describe as autonomous complexes or the dead. Jung created the painting at a midpoint in his career during a time when he had turned away from the unconscious and refocused his attention toward the world. The dissertation also noted a connection between image 169 and other paintings in Liber Novus, to include images 105, 121, 159, and 163. Liber Novus has two parallel narratives, one written in discursive text and the other in symbolic images. Both narratives complement one another and form, as it were, a visionary mosaic of interrelated ideas. These two complementary narratives evoke Jung’s (1912/1967) distinction between directed thinking and non-directed thinking, which he contrasted in Symbols of Transformation (CW5, para. 37). In image 169, Jung was apparently attempting to redress the lamentations of the dead who he described as the unanswered, unresolved, and unredeemed, of which I aimed to contextualize in terms of an apocatastasis. As discussed in chapter 5, Jung viewed the story of Christ’s descent to hell as emblematic of the apocatastasis of the dead. It is noteworthy that Jung viewed Christ as

332 TREASURE HUNTING the greatest of the dead, who elected to break himself rather than the world. According to Jung (2009) Christ was the greatest of them all, and the powers of this world did not reach him. But I speak of the dead who fell prey to power, broken by force and not by themselves. Their hordes people the land of the soul. (p. 296) Jung added: “They [the dead] lived on the heights and accomplished the lowest. They forgot only one thing: they did not live their animal” (p. 296). Thus, one could say that Christ’s descent to hell represented a sublimation of the instincts. In Liber Novus, Jung emphasized the importance of not imitating Christ but rather of becoming a Christ, which is to say, willingly and consciously undertaking one’s own journey to hell. This suggests an integration of unconscious contents, something essential for individuation to proceed. Jung wrote: But if I am truly to understand Christ, I must realize how Christ actually lived only his own life, and imitated no one. He did not emulate any mode1. If I thus truly imitate Christ, I do not imitate anyone, I emulate no one, but go my own way, and I will also no longer call myself a Christian. (p. 293) Relevance of Findings to Fields Other than Depth Psychology Today most mainstream academics tend to regard Jung with suspicion. Accordingly, he is frequently associated with pseudoscience, superstition, and mysticism. In most cases, Jung and his ideas are currently relegated to humanities departments of colleges and academic institutions. Many claim that his theories do not withstand rigorous scrutiny and thus cannot be taken seriously. This stigma has posed problems to the advancement of Jung’s theories into widely accepted venues of discourse. One could

333 TREASURE HUNTING say that ever since his break with Freud, Jung’s theories have intermittently encountered resistance. Jung’s reputation was also tarnished because of certain political and social controversies, stemming largely from his remarks on race and what is often considered his tepid views on National Socialism in the 1930s and 1940s. For instance, only about ten years ago I read an excerpt from a popular textbook on psychology that claimed without qualification that Jung “sided with the Nazis.” Needless to say, these factors have diminished the relevance of Jung’s work in mainstream academia and the contemporary scientific community, which has understandably led to a general misrepresentation of his ideas. It helps to evaluate Jung’s work on the merits of the heuristic value of his insights, which are relevant to fields and disciplines external to depth psychology. That Jung considered his psychology an interdisciplinary enterprise is helpful at demonstrating relevance to a wider audience. Jung felt complex psychology could advance a critical understanding of how the subjective factor encroaches on other fields and disciplines. As Shamdasani (2003) has suggested, “For Jung, psychology was the discipline to unite the circle of sciences” (p. 18). Thus, it is important to consider what the layperson and academic alike may reasonably gain from the research findings. An appropriate point of departure begins with the central aim of this hermeneutic inquiry, which sought to draw the relationship between Jung’s personal myth, his individual cosmology, and image 169. The psychological problem of authorship. The dissertation aspired to describe the correlation between Jung’s personality— replete with his own experiences and distinct psychic constitution—and a singular form of creative expression. This aim highlights the crux of the psychological problem of

334 TREASURE HUNTING authorship in that so many people regard the ego as pars pro toto of the whole psyche. We assume that the ego faithfully represents the entirety of psychic life but this is never the case, and it shows. The ego, as Jung demonstrated, is but one of many complexes that comprise the total intrapsychic structure of the personality. Jung (1907/1972) wrote that the “ego complex . . . is the highest psychic authority. By this we mean the whole mass of ideas pertaining to the ego, which we think of as being accompanied by the powerful and ever-present feeling-tone of our own body” (CW3, para. 82). Elsewhere, Jung (1935/1976) added “that in principle there is no difference between the ego-complex and any other complex” (CW18, para. 150). At best, the ego could be viewed as the central spine of the personality, from which a number of outgrowths spur. These splinter complexes are usually subordinate to the authority of the ego-complex, but infrequently can interrupt consciousness. Because the complex often displays a mind of its own, it may tend toward a goal that is counter to the will of the ego. However, one should not necessarily consider such phenomena as psychopathological. For when the aims of the complex are consciously understood, it can contribute to greater wholeness of the entire personality. That the psyche is a decentralized and synergistic system of multiple perspectives raises a question that merits further consideration: can one consider C. G. Jung the sole author of Liber Novus? If not, who or what else should one attribute authorship to? Similarly, can we ascribe sole authorship of the poem Kubla Kahn to the English poet Samuel Taylor Coleridge, who after waking from an opium-induced dream recalled and wrote down its lines? An illiterate Muhammad is also not considered the author of the

335 TREASURE HUNTING Quran for its text purportedly originated from the angel Gabriel who commanded him to “recite.” Even God apparently was not alone when he created humankind: On the sixth day God said, “Let us make mankind in our image, in our likeness, so that they may rule over the fish in the sea and the birds in the sky, over the livestock and all the wild animals, and over all the creatures that move along the ground.” (Genesis 1:26) The Bible’s use of the words “us” and “our” suggests a plurality of creators whose likeness humankind is molded. Like the heavenly host, one could say that the psyche is analogous to an ensemble cast of multiple characters. Liber Novus and its 73 paintings, to include image 169, are no exception. Jung, like many others, was aided by a wide range of social and psychological factors that eventually emerged into a critical psychology. If there is one insight proffered from a close reading of Liber Novus, it is that there seems to be an immense psychiatric clinic in our heads peopled by personified thought-forms that all vie for expression. Like a rowdy protestor whose voice is drowned out by the cacophony of the crowd, the ego too, in theory at least, can temporarily lose its authoritarian control over the masses. One the other hand, the ego may represent a voice of reason and find itself able to compromise with the mob through mutual cooperation and conscious deliberation. In fact, it may even be able to rally the masses to a common goal. In his essay, “The Death of the Author,” French literary critic Roland Barthes (1968/1977) examined the role of authorship. Citing Honoré de Balzac’s novel Sarrasine, he probed the identity of its voice and asked who spoke thus; the story’s chief protagonist, the author, the idea, universal wisdom or “Romantic psychology” itself? (p.

336 TREASURE HUNTING 142). Barthes further suggested that “We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin” (p. 142). Jungian scholar Susan Rowland (2005) has aptly applied the “The Death of the Author” to Jung’s authorship, suggesting that The author is dead, not just because Jung can no longer be called upon to explain his work, but primarily because the author as supreme authority, as the god of the text, need no longer be the defining principle of interpretation. (p. 27) Thus, absent Jung’s authorizing presence, one cannot rely on his intentions to infer an understanding of his scholarship. Rowland similarly observed that in Memories, Dreams, Reflections “There is no single author: the current English text is contingent and was produced collectively through a tangle of conflicting desires and interests” (p. 27). Can one then ever confidently say that the ego is solely responsible for a body of work, whether it is rendered in words or images? One could pose the same question to Liber Novus. Barthes (1968/1977) echoed this contention when he wrote that the “I is nothing other than the instance of saying I: language knows a “subject,” not a “person,” and this subject, empty outside of the very enunciation which defines it, suffices to make language “hold together”” (p. 145). So given the apparent provisional nature of the ego, where do ideas come from? Can we honestly say that we create ideas, or do we co-opt them, as it were, from the protean background of the psyche? On a daily basis, we assume that we own what we create and that we are the sole proprietors of the words that issue from our mouths and the ideas that arise from our thoughts. However, this does not seem consistent with psychic facts. Thus, one could say that Liber Novus represents a relationship between the

337 TREASURE HUNTING ego (Jung’s I) and a host of other psychic structures that range from the personal to the transpersonal. It is noteworthy that in Liber Novus Jung employed the unconventional literary device of extricating himself from his ego. He seems to have adopted this differentiation technique as a way to illustrate that he was both a passive observer and active participant in the events documented in Liber Novus. While transcribing The Black Books to Liber Novus, Jung was able to differentiate the fantasy figures that appeared to him, eventually realizing that Philemon had actually given to him much of the material he wrote down in The Black Books. Jung later viewed Philemon not as a product of his imagination but as an objective living reality. Shamdasani (2009) similarly observed that Jung “realized that there was a prophetic wise old man in him, to whom he was not identical” (p. 203). This epiphany represented for Jung the critical point of disidentification from his fantasies (p. 203). Because of the multifarious aspect of these experiences, Jung’s realization of his personal myth occurred only after a lengthy incubation and coincided with the emergence of the self. Jung had to reach a certain stage of development in his personal and professional life before he was ready to impart his message to the world, privately in the form of his Black Books and Liber Novus, and publicly through his psychology. Because the ego is merely one complex out of many, albeit one of central importance to the development of the personality, one cannot rely on simple explanations of human identity. The personality is multi-layered and owes its psychic existence to manifold subjective centers of volition. Such a model demonstrates an interdependency between the individual and the collective. The author, like a symbol, could be viewed as a conduit, so to speak, through which ideas are scripted onto the world and are

338 TREASURE HUNTING subsequently communicated. The author in this way seemingly assumes the role of a scriptor or revelator, a mouthpiece, as it were, for the objective psyche. Similarly, Barthes (1968/1977) proposed that the term scriptor replace author: Succeeding the Author, the scriptor no longer bears within him passions, humours, feelings, impressions, but rather this immense dictionary from which he draws a writing that can know no halt: life never does more than imitate the book, and the book itself is only a tissue of signs, an imitation that is lost, infinitely deferred. (p. 147) In this regard, the author of any work could be more accurately described as a bridge or gateway between the unconscious and the world at large. Such an idea suggests a participatory field of mutually reciprocating relationships, an interactive mosaic where every psychic actor, every personified form, can contribute like a cast member in the production of a work, whether it is a work of art or a body of literature. The ego is not alone as it participates in a complex psychic network of interactions and associations, which labor together to creatively produce the conscious fruits of the human mind. To be clear, it is not to say that we lack free will, nor am I suggesting that we can forego responsibility for what we say or do. On the contrary, although the mind is ostensibly a decentralized and synergistic system, the ego is still the dominant factor that provisionally rules the kingdom of consciousness and thus it must accept responsibility for what it sows. That responsibility is essential to cultivate consciousness is a maxim too often overlooked. In fact, such an awareness is essential to individuation, which is relevant to establishing a relationship to one’s own psychic interiority. Jung’s capacity to disidentify with his fantasies apparently advanced his own individuation so that he could

339 TREASURE HUNTING consciously co-operate with the psychic forces at work within him. Such an undertaking intimates the goal of apocatastasis: restoring the dead by relating to one’s unconscious contents. Liber Novus suggests that Jung was not alone when he scripted The Black Books, but was aided by his greater personality or what Jung referred to as the self. We are a part of a greater whole, which influences us as much as we influence it. This so-called whole, rendered psychologically, is synonymous with the self. In 1913, Liber Novus began as a faint whisper and by 1930 had reached a dramatic crescendo. A close study of the relevant literature suggests that the unconscious had deposited helpful clues along a labyrinthine path, which functioned as symbolic guideposts during Jung’s own treasure hunting expedition, eventually culminating in image 169. Furthermore, one should not disregard the synchronistic events that punctuated Jung’s path. As previously indicated, Jung had sensed an intense unconscious relation to India and the East as early as 1917. Such events seem to have prefigured his subsequent immersion into Eastern philosophy and religion. A review of the timeline (Appendix C) highlights the various meaningful coincidences that Jung observed during the years leading up to 1930. It is also helpful if one considers the teleological implications of every literary, artistic, and scientific endeavor. It is never sufficient to view ideas as static things, for they evolve over time and may have, as it were, a purposive aim. One could say that to effectively gauge the purpose of any undertaking, one must foster the right perspective to be able to anticipate its direction. Just as this dissertation sought to describe the relationship between a man and his opus, one could similarly say that the process of individuation is aptly framed as a relationship between the average person and his or her

340 TREASURE HUNTING work, which aims at a finalistic goal. The research findings generally point toward what Aristotle called a final cause in the form of image 169. Jung suggested that the psyche is arranged in discrete patterns of psychic functioning, which find their expression in the universal modes of human behavior. Jung named these suprapersonal factors archetypes. One could say that the archetypes shape and arrange human experience. Jung further suggested that the unconscious exhibits a tendency towards a particular goal. The goal however rarely proceeds in a linear fashion, but circumambulates around a common center until the conscious mind can grasp its meaning. Thus, both layperson and specialist alike can glean general applicability from the insights heretofore presented in this dissertation, for most people have started a project with no clear indication of its eventual outcome, but still they persisted. That creative impulses sporadically arise in the field of consciousness suggest that the unconscious attempts to work in concert with the aims of the ego toward an unknown goal. Thus, the individual, who, like Jung, has aspired to pursue a dream and build his own kingdom of consciousness from the psychic brick and mortar within, represents both the entrance and exit of the research findings. Although most people have not written their own Red Book, one could argue that each person has access to a vast repository of living ideas that enable the psyche to speak and thereby transforms the personality. By exploring one’s own psychic interiority the individual may realize that finding the treasure hard to attain takes a lifetime of work and steady effort. Such a task requires the total cooperation of psychic life to harvest those precious gems of insight.

341 TREASURE HUNTING Psychopathological considerations. It is also important to address what Ellenberger (1970/1981) called Jung’s “creative illness” (p. 68). As a result of this initial description of Jung’s confrontation with the unconscious, many biographers and interpreters of his life and work have incorrectly diagnosed this series of events in psychopathological terms. Bair (2003) similarly described Jung’s confrontation with the unconscious as a psychotic episode (p. 290). This viewpoint suggests a psychopathological interpretation of the experience which does not seem warranted after a careful review of the salient facts. Although what Jung experienced marked a watershed event of extensive creative proportions, it does not seem accurate to identify it as an illness in the psychopathological sense. Accordingly, one could more precisely say that after Jung’s break with Freud, he experienced an introversion of libido which released a stream of fantasy material and fueled his creative endeavors for the next several years. The magnitude of the event was such that Jung (1961/1989) subsequently described it as “the prima materia of his life’s work” (p. 199). In Liber Novus, Jung (2009) further wrote that “all beginnings are difficult” (p. 333, n. 2) quoting a proverb from the Talmud. He seems to have acknowledged that he was drifting into new territory and embarking on another chapter in his life. I think that if most people seriously consider Jung’s symptoms in relation to their own experiences during turbulent times, they would likely note characteristics similar to what Jung described in Memories, Dreams, Reflections and Liber Novus. One could say that the difference between Jung and most other people was the scope of his erudition and personal experiences, by which he was able to consciously transform an otherwise unsettling occurrence into a highly productive endeavor, as evidenced by his Black

342 TREASURE HUNTING Books, Liber Novus, as well as the psychological theories that he subsequently formulated. Absent his training and knowledge, Jung’s nekyia may have resulted much differently. In fact, on July 28, 1914 Jung (2009) gave a lecture titled “The importance of the unconscious in psychopathology” at a meeting of the British Medical Association in Aberdeen, England. During the lecture, he suggested that in cases of neurosis and psychosis the unconscious attempts to compensate for a one-sided conscious attitude. Jung argued that an unstable person will initiate psychological defense measures, which reinforce the unconscious splitting of the personality. Jung further acknowledged that if the unconscious impulses are properly integrated into consciousness, actual healing can proceed, but the ego frequently views the impulses as abhorrent to the prevailing conscious attitude (p. 201). The content of Jung’s lecture indicates that he was wellaware of the dangers of a psychotic break and understood the potential perils of his experiences. He thus took necessary steps to avoid identifying with the images that arose from his self-experiment such as faithfully attending to his professional and personal responsibilities. In Memories, Dreams, Reflections, Jung (1961/1989) highlighted the stabilizing effect his family and profession had on him during this time: “My family and my profession remained the base to which I could always return, assuring me that I was an actually existing, ordinary person” (p. 189). However, one should not solely attribute Jung’s erudition and family as the only factors that enabled him to endure his nekyia experience. As evidenced by Liber Novus and Memories, Dreams, Reflections, Jung’s innate psychic constitution seemed constructed in a way that he was able to tolerate intense forms of psychic distress and successfully ameliorate them. One could argue that greater men (e.g., Nietzsche) had failed at integrating the contents of the unconscious,

343 TREASURE HUNTING which in some cases had cost them their livelihood or even sanity. Jung, on the other hand, suggests the quintessential outlier, one uniquely suited to deal with a wide-range of psychic experiences and transform them into something meaningful. Jung seemed to live in two worlds simultaneously, one defined as the day world of consciousness and the other a shadow of the latter. Thus, one could say that Jung’s conscious mind was more permeable and susceptible to autonomous agents of the unconscious than the average person’s, which made it easier for him to metabolize numinous experiences without succumbing to a psychotic break. Although there are indications that psychopathology played a role in Jung’s confrontation with the unconscious, it is important to focus on the creative and therapeutic aspects of this experience. Thus, one could say that his ability to consciously assimilate his fantasy material resulted in a highly meaningful endeavor and suggests that there is indeed a fine line between madness and creativity. History of ideas. The research findings are also related to the field of study known as the history of ideas, which as mentioned in chapter 1, is an interdisciplinary field that addresses the articulation, preservation, and transformation of human ideas over time. That certain ideas appear more frequently than others in Jung’s work suggests that one can trace their history to various antecedent sources, most notably Nietzsche, Goethe, Kant, Plato, and Heraclitus. One could say that each figure, as well as many others, participated over time in the construction of a towering edifice built from ideas. Jung’s psychological legacy is nested within a larger philosophical and scientific framework that subsumes the psychoanalytic movement from which his ideas are traditionally believed to have originated. As I have aspired to demonstrate throughout this dissertation by deductive

344 TREASURE HUNTING reasoning, investigation into the history of ideas that shaped Jung’s theories is necessary in order to properly understand image 169. The study of the history and evolution of these ideas can not only further contribute to a more comprehensive understanding of depth psychology, but situate other fields of study into a larger context of the development of Western thought. Psychology and religion. As previously discussed, a dream Jung had in 1917 suggested an unconscious relation to India and the East, which he was not able to fully grasp until the late 1920s. Not long after, Jung arrived at a crossroad where East and West intersected which coincided with his reading of Zimmer’s Artistic Form and Yoga in the Sacred Images of India in 1930. This event represented a critical milestone for Jung and compelled him further consider ways to reconcile Eastern and Western modes of thought. One could say that Jung’s creative synthesis of Eastern and Western ideas culminated in his creation of image 169. Jung continued to explore religion for the next several decades. In 1938, he published his essay “Psychology and Religion,” in which he discussed the parallels between religion and psychology and referred to the psyche’s natural religious function. As previously mentioned, ten years later Jung (1973) suggested in a letter that his exploration of Eastern religion was essential to his understanding of the human mind (p. 491). Because religion is one of the earliest and most universal expressions of the psyche Jung believed that its study, in both its Eastern and Western variants, could demonstrate that symbols arise largely from unconscious processes. Accordingly, Jung’s approach for understanding the meaning of religious symbolism could be viewed as

345 TREASURE HUNTING hermeneutic and phenomenological. Jung felt that depth psychology could further advance the study of religion by providing an inventory of psychic experiences by which one could situate religious symbols into an appropriate context and system. By treating religious symbols as products of the psyche, Jung aimed at classifying and ordering them into distinct modes of archetypal expression. Thus, these forays can generally be seen as an attempt to unify East and West through an understanding of the universality of archetypal symbolism. That Jung saw the psyche as the common substrate of both Eastern and Western ideas suggests that religious scholars and theologians can benefit from at least a cursory understanding of Jung’s psychological theories in relation to religion in that he observed a clear parallel in their phenomenology. Areas in Need of Further Research In regards to the need of further research, I have identified some areas of inquiry that could further develop and expand the research findings of this dissertation. It is first necessary to note that in his 1948 inaugural address to the newly formed C. G. Jung Institute in Kusnacht, Switzerland, Jung outlined the direction he thought future research should take. Among his remarks, he mentioned his interdisciplinary collaboration with Richard Wilhelm, Heinrich Zimmer, Karl Kerenyi, and Wolfgang Pauli in the fields of sinology, indology, Greek mythology, quantum theory, and parapsychology respectively (Shamdasani, 2003, p. 346). He further indicated that his life’s work had left behind much unfinished business. Jung emphasized the need for additional research in the association experiment, the elaboration of case histories, comparative dream symbolism, numerical symbolism, precognitive dreams, psychic patterns in heredity, and postmortem psychic phenomena. Having taken cues from Jung’s own recommendations and

346 TREASURE HUNTING in light of the research findings, I propose the following areas of future research, which may yield a clearer understanding of the research topic. Post-Mortem psychic phenomena. Because psychological apocatastasis suggests that individuation may proceed after physical death, it is necessary to consider any future endeavors that may advance the study of post-mortem psychic phenomena. The afterlife is among a number of philosophical problems that ostensibly extends beyond the borders of empirical science. Consequently, it is extremely difficult to empirically demonstrate life after death. Furthermore, because life after death is untestable, one could argue that it cannot be considered a hypothesis at all, but constitutes, as it were, a mythologem that symbolizes a universal psychic experience. Due to the scope of the problem, Jung principally relied on psychic facts rather than physical laws while discussing his thoughts on life after death. Accordingly, one could then say that the conception of the afterlife rests on an age-old archetypal idea which depth psychology seems aptly suited to explore. The idea suggests that existence may continue in some form after biological death. Regardless of what modern science says, our current understanding of the world is too sparse to conclude that consciousness is merely an epiphenomenon of the brain. Our views on life and death then are delimited by the contemporary worldview, which is largely predicated on the dominant metaphors we use to color and shape our picture of the world. In response to a letter that inquired about the possibility of life after death, Jung (1976) responded as follows: The point is that, like all our concepts, time and space are not axiomatic but are statistical truths. This is proved by the fact the psyche does not fit entirely into

347 TREASURE HUNTING these categories. It is capable of telepathic and precognitive perceptions. To that extent it exists in a continuum outside time and space. We may therefore expect postmortal phenomena to occur which must be regarded as authentic. Nothing can be ascertained about existence outside time. The comparative rarity of such phenomena suggests that crossing the boundary presents the greatest difficulties. (p. 561) Thus, Jung seems to have significantly relied on his observations of the psychic conditionality of space and time to propose the tenable possibility of some form of postmortem existence. Therefore, under certain circumstances Jung believed that the psyche could temporarily transcend the neo-Kantian categories of space and time, a conception that contributed to the formulation of his synchronicity hypothesis, which represented his attempt to bridge the assumed gulf between psyche and matter. To this end, Shamdasani (2008) has suggested that “the theory of synchronicity was clearly an attempt to render parapsychological phenomena comprehensible to physics, and as such, opened the door to postmortem transcendence” (p. 21). Yet, because such phenomena are rare and unpredictable, they do not accord with the rigorous scientific standards of reproducibility, quantitative measurement, and statistical analysis. Regardless of the burden of empirical proof, there is sufficient anecdotal evidence available to suggest that life and death may coexist along the same psychophysical continuum. That is to say, when approached archetypally life and death seem analogous to the complementary relationship between consciousness and the unconscious, which viewed together comprise a larger whole. Documented dreams suggest that a terminally ill person’s psyche frequently produces

348 TREASURE HUNTING symbols of rebirth and transformation and thus apparently intimating, at least the hope of, a continued existence beyond death. For instance, after my grandmother died I had a series of “big dreams” wherein she appeared. In one dream, I encountered my grandmother in her house. She did not speak to me but sat in her chair silently as though in an intense state of contemplation. What was most peculiar about the dream was that her house was refurbished in a way that intimated the restoration of her residence in anticipation of her pending death. One could interpret such stark archetypal symbolism as a continuation of her own individuation in the unconscious. What is most striking about the dream is not the presence of the image of my grandmother, but for the fact that it was preceded by a series of other dreams before her actual death which seemed to narrate a sequence of meaningful events culminating in my grandmother’s symbolic transition into the afterlife. Although it is dubious that one can consider dreams direct evidence of life after death, they are suggestive of the psychic fact that the deceased person can persist as a living idea in the psyche. A comprehensive study of a broad sampling of dreams, with special emphasis on the elderly or terminally ill, may shed additional light on post-mortem psychic phenomena. Psychic patterns in genealogy and heredity. One could say that Jung’s own personal myth was built on the legacy of his ancestors and was propelled forward by the monumental weight of human history. Shamdasani (2013) has interestingly likened Jung’s “confrontation with the unconscious” with a “descent into human ancestry” (p. 2). Our ancestors, whether considered spiritual predecessors or direct biological progenitors, could be viewed as equivalent to one’s

349 TREASURE HUNTING dead. Forming a relationship with them seems essential to finding a myth to live by. Furthermore, an understanding of the formative patterns that influence one’s biography can help a person live a more meaningful life. These factors, combined with Jung’s unique psychic constitution, seem to have directly contributed to the development of his personality and the professional path he would subsequently blaze in psychology. Because there is a dearth of research on the way the psyche relates to genealogy and heredity, a study of the ancestral patterns that shape and order our lives is helpful at evaluating one’s character and calling. Jung (1934/1969b) suggested that “We cannot fail to recognize that unalterable characteristics of a physical as well as a psychic nature are unconsciously ingrained in us by heredity, and . . . can inhibit or reinforce or otherwise modify even the most spiritual contents” (CW8, para. 657). All people inherit genetic and psychic dispositions from their countless ancestors, mostly nameless, who form a part of their personality. In fact, one could say that the personality is embedded in an intricate web of ancestry. Accordingly, Jung (1961/1989) wrote that “Our souls as well as our bodies are composed of individual elements, which were all already present in the rank of our ancestors. The “newness” in the individual psyche is an endlessly varied recombination of age-old components” (p. 235). Jung (1929/1969) observed that “Astounding cases of mental similarity can be found in families” (CW8, para. 228). Thus, that one can identify distinct genealogical coincidences in biography suggests that heredity and ancestry affect the interests and proclivities of the individual. By tracing Jung’s genealogy, one can discern an underlying pattern in the occupations and general interests of his family members. Jung’s paternal line indicates that a psychic gestalt was operative in the genealogy of his ancestors. Carl

350 TREASURE HUNTING Jung’s father was a philologist who made a modest living as a Lutheran parson; his grandfather, Karl Gustav Jung, a physician; and his great-grandfather, Franz Ignaz Jung, was also a physician. Out of Karl Gustav Jung’s six sons, three of them became physicians as well. Andreas Jung (2011) has compared the lives of Karl the older and Carl the younger noting striking similarities. For instance, both of their fathers had large families consisting of about a dozen siblings from different mothers. Karl the older and Carl the younger both grew up in small families each having had only one sister who never married. The fathers of both men found themselves in a profession they did not enjoy. Both of their mothers suffered bouts with depression. Similarly, Karl the older and Carl the younger were close to their mothers but had strained relationships with their fathers. Both men married a young woman from an affluent family and both had one son who became an architect (p. 663). On Jung’s mother’s side, his grandfather Samuel Preiswerk was a pastor who specialized in the exegesis of the Old Testament and the study of near Eastern languages, and his great-grandfather, Alexander Preiswerk, was also a pastor. These genealogical and psychic patterns seem to have amalgamated to form Jung’s vocational interests. His destiny met at the crossroads of both science and religion, forging them together into psychology. Jung (1989/1961) indicated that upon reading Krafft-Ebing’s textbook on psychiatry, it had become clear that psychiatry “was the empirical field common to biological and spiritual facts . . . here at last was the place where the collision of nature and spirit became reality” (p. 109). If we were to conduct a close study of our family heritage, we would likely discover striking patterns in the biographies and vocations of our ancestors. For instance,

351 TREASURE HUNTING my great-grandfather was a farmer, my grandfather was a carpenter, and my father was a musician. Among many things, I first and foremost consider myself a writer. One could say that an impulse to create was the common thread that connected all of our lives. Life circumstances, however, are formative factors to one’s vocation. Socioeconomic conditions can constitute a far more potent determinant than psychic destiny, but this is not always the case. Take for example my grandfather who was born in 1911 to a meager existence. A mentally gifted man, he likely would have risen to more prominent heights if it were not for the socioeconomic circumstances that constricted his opportunities, particularly during the Great Depression, which coincided with his coming of age. The acorn theory, as articulated by James Hillman (1996), suggests that just as the acorn contains the whole image of the oak tree in potentia, our lives too are formed around a basic pattern that drives its subsequent growth and development. One could apply this acorn model to human development in general in that the acorn aspires to become what it was always meant to be in spite of the various challenges (i.e., socioeconomic, physical, etc.) that obstruct its path. The acorn model further suggests that one’s destiny is largely predicated on a unique psychic blueprint that is given at birth, or what Plato termed a paradeigma. That we can identify similarities between the life circumstances of our ancestors and our very own suggests that the genealogical bloodline participates in a common image. Thus, an elaboration of biographical case studies could help develop a better understanding of the phenomenon of psychic patterns in genealogy and heredity. Soteriological considerations in depth psychology. As previously indicated, there is an implicit soteriological tone in Jung’ work, most evidently expressed in Liber Novus. Soteriology is the study of salvation and

352 TREASURE HUNTING comprises one of the principal hallmarks of the transformative dimension of religion. Whereas in most religious and mythological texts the gods save humankind, Liber Novus approaches salvation from a different angle. Instead of the gods coming to the aid of humankind, it is humankind that renders aid to the gods. Liber Novus introduces this theme when Jung (2009) rescues Izdubar in Liber Novus: “Thus my God found salvation. He was saved precisely by what one would actually consider fatal, namely by declaring him a figment of the imagination” (p. 283). One could say that Jung presented psychic realism to restore the old forms of the dying gods. Jung further added that “A new salvation is always a restoring of the previously lost” (p. 297). Thus, Liber Novus suggests a renewal of the god-image through a direct experience and conscious relationship with the numinous forces present in the human psyche. Jung further indicated that the symbol has a soteriological function: “Salvation is a long road that leads through many gates. These gates are symbols” (p. 311). Jung’s reference to symbols recalls his reformulation of the libido concept, which he viewed as a form of psychic energy that could dynamically evolve into new symbols when the old forms could no longer harness the energies of the living psyche. Symbols can cultivate a higher order of psychic functioning so that we may build a kingdom of consciousness. It is worthwhile then to consider how depth psychology and its core ideas can advance a better understanding of the individual’s role in cosmic evolution, in that god, and I use this term loosely, seems to need man to become conscious of himself. Put another way, god seems to seek his goal through man. Another soteriological aspect of Jung’s psychology is what I have described as the apocatastasis of the dead. A close study of Jung’s work suggests that he believed that the

353 TREASURE HUNTING psychic development of the dead was dependent on an increase in consciousness in the living. Although one may consider such a position as peculiar, Jung principally relied on his empirical observations and theories to support his views on the topic. Furthermore, he proposed that the goal of analysis could be viewed as a preparation for death. In this vein, Shamdasani (2008) has opined that analysis became reframed as a modern form of the ars moriendi, the art of dying (p. 24). If the dead do in fact reside in the unconscious, and if one can reasonably view the unconscious as a psychological parallel to the mythological underworld, then one should at the very least consider that consciousness may have far-reaching existential and soteriological implications. Although speculative, the idea has both pragmatic and therapeutic value. Further study of the soteriological aims of depth psychology may uncover insights in regards to the relationship between consciousness and the world. Jung (1957/1970) observed that “Without consciousness, there would, practically speaking, be no world, for the world exists for us only in so far as it is consciously reflected by a psyche” (CW10, para. 528). That we are capable of envisioning ever broader horizons beyond the provincial boundaries of ego-consciousness, suggests that “man,” to quote Nietzsche (1883/2003), “is something that should be overcome” (p. 7). The future is unwritten until it is realized and with the right mindset we may consciously dream the myth forward into the twenty first century. Fifty-five years after Jung’s departure from the world, we are still trying to understand the implications of his psychology. That Jung left image 169 unfinished, suggests the dream of complex psychology is far from complete.

354 TREASURE HUNTING Final Observations This dissertation concludes at the end of lengthy treasure hunting expedition which sought to answer a series of questions related to the research topic. In order to locate the treasure, I had to retrace Jung’s steps and attempt to emulate his thinking through a careful study of his writings and experiences leading up to 1930. This activity was analogous to a hermeneutic map that informed the analysis of image 169 and illuminated an inroad into Jung’s own individuation process. The value gained from such a study was principally fostered by the meaningful context it provided for understanding the relationship between Jung and a product of his creativity vis-à-vis image 169. The creative arc that defined Jung’s confrontation with the unconscious and his eventual painting of image 169 suggests a dynamic process that was not solely navigated by his ego but relied on the totality of his psyche. In this vein, one could say that a multitude of psychic factors aided him throughout the course of his journey. Jung seems to have benefited from what Joseph Campbell termed as “supernatural aid,” a crucial step in the monomyth. Campbell (1949/2008) described this as “the unsuspected assistance that comes to one who has undertaken his proper adventure” (p. 33). After completing his first treasure hunting expedition, Jung began another in the form of his extensive studies of alchemy beginning in 1935. If people were to pay closer attention to their lives they too would likely discern a similar patterning of events. Accordingly, people need not document their fantasies in a book to recognize that their lives are accentuated by gradual ebbs and flows of psychic development which tend to circumambulate around a common goal. In the final analysis, one could say that Jung’s work embodied a lifelong treasure hunting campaign which sought to explore the

355 TREASURE HUNTING mysteries of the human soul. Similarly, each of us in our own way search for the same treasure, which when closely examined suggests an attempt to answer the central question of existence and free agency: what does it mean to be alive?

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371 TREASURE HUNTING Palmer, R. (1969). Hermeneutics: Interpretation theory in Schleiermacher, Dilthey, Heidegger, and Gadamer. Chicago, IL: Northwestern University Press. Riley, C. (1995). Color codes: Modern theories of color in philosophy, painting and architecture, literature, music, and psychology. Hanover, MA: University Press of New England. Rowland, S. (2005). Jung as a writer. New York, NY: Routledge. Schellinski, (2006). Life after death: The replacement child’s search for self. In L. Cowan (Ed.), Barcelona 2004: Edges of experience: Memory and emergence: Proceedings of the sixteenth international congress for analytical psychology, (pp. 781-796). Zurich, CH: Daimon. Sengupta, S. (2013). Jung in India. New Orleans, LA: Spring Journal. Shamdasani, S. (Ed.). (1996). Introduction: Jung’s journey to the east. In The psychology of Kundalini Yoga: Notes of the seminar given in 1932 by C. G. Jung (pp. xviixlvi). Bollingen Series XCIX. Princeton, NJ: Princeton University Press. Shamdasani, S. (2003). Jung and the making of modern psychology: The dreams of a science. Cambridge, UK: Cambridge University Press. Shamdasani, S. (2008). The boundless expanse: Jung’s reflections on life after death. New York, NY: Quadrant XXXVIII(1), pp. 9-30. Shamdasani, S. (Ed.). (2009). Liber novus: The “Red Book” of C. G. Jung. In The red book: Liber novus. Philemon Series. New York, NY: Norton. Shamdasani, S. (2010). Carl Gustav Jung and The Red Book. Library of Congress. Retrieved from https://www.youtube.com/watch?v=Oy-x7BLlBYg Shamdasani, S. (2011). Forward to 2010 Edition. Synchronicity: An acausal

372 TREASURE HUNTING connecting principle. In H. Read, M. Fordham, G. Adler, & W. McGuire (Eds.), The collected works of C. G. Jung (R. F. C. Hull, Trans.) (2nd ed., Vol. 8, pp. 417-519). Princeton, NJ: Princeton University Press. (Original work published 1952) Shamdasani, S. (2012). C. G. Jung: A biography in books. New York, NY: Norton. Sherry, J. (2010). A pictorial guide to The Red Book. The Archive for Research in Archetypal Symbolism. Retrieved from https://aras.org/sites/default/files/docs/00033Sherry.pdf Smith, R. (1997). The Fontana history of human sciences. London: Fontana. Sorge, G. (2013). Jung’s hermeneutic of the yantra and the mandala: The influence of Heinrich Zimmer’s Kunstform und Yoga im Indischen Kultbild. In A. Collins & E. Molchanov (Eds.). Jung and India, Spring 2013, Vol. 90. pp. 77-104. New Orleans, LA: Spring. Staude, J. (1981). The adult development of C. G. Jung. Boston, MA: Routledge & Kegan Paul Ltd. Stein, M. (2012). How to read The Red Book and why. Journal of Analytical Psychology, 57(3), 280-298. Stevens, A. (1990). On Jung. London: Routledge. Van der Post, L. (1975). Jung and the story of our time. New York NY: Pantheon Books. Von Franz, M. (1974). Number and time: Reflections leading toward a unification of depth psychology and physics. Evanston, IL: Northwestern University Press. Von Franz, M. (1983). Introduction. The Zofingia lectures. (J. V. Heurick, Trans.). In

373 TREASURE HUNTING W. McGuire. (Ed.), The collected works of C. G. Jung (Supplementary Vol. A, pp. xiii-xxv). Princeton, NJ: Princeton University Press. Von Franz, M. (1992). Psyche and Matter. Boston, MA: Shambhala. (Original work published 1988) Wachterhauser, B. R. (1986). Hermeneutics and modern philosophy. Albany, NY: State University of New York Press. Wasserstrom, S. (1999). Religion after religion. Princeton, NJ: Princeton University Press. Wehr, G. (1987). Jung, a biography. Boston, MA: Shambhala. Wehr, G. (1989) An Illustrated Biography of C. G. Jung, Boston, MA: Shambhala Wojtkowski, S. (2011). Jung’s Art Complex. The Archive for Research in Archetypal Symbolism. Retrieved from https://aras.org/sites/default/files/docs/00028Wojtkowski.pdf Zimmer, H. (1984) Artistic form and yoga in the sacred images of India. (G. Chapple & J. B. Lawson, Trans.). Princeton, NJ: Princeton University Press. (Original work published 1926)

374 TREASURE HUNTING Appendix A Hermeneutic Analysis of Image 169

Figure 20. Legend to image 169, Liber Novus. From The Red Book by C. G. Jung, edited by Sonu Shamdasani, translated by Mark Kyburz, John Peck, and Sonu Shamdasani. Copyright © 2009 by the Foundation of the Works of C. G. Jung Translation 2009 by Mark Kyburz, John Peck, and Sonu Shamdasani. Used with permission of W. W. Norton & Company, Inc. and the Foundation of the Works of C. G. Jung. Courtesy of DigitalFusion.

375 TREASURE HUNTING The task of analyzing and commenting on the figures depicted in image 169 came with considerable challenges. In some cases, I had to rely on my imagination to help intuitively construct an interpretation of the image whereas in others I was able to pursue a less subjective approach through comparative analysis. Not surprisingly, nothing really substantive could be said about many of the faces due to the dearth of information available. In these cases I decided to simply accept them as unknowns. I should add that it is entirely impossible to eliminate one’s own subjectivity while pursuing a hermeneutic inquiry. Thus, I made every effort to recognize my own biases while sorting through and examining the faces. Furthermore, I will point out that I consider this kind of hermeneutic analysis as a penetrating activity that helps discern the underlying psychic activity at work in an image. The faces seem to depict a hodgepodge of historical, mythological, and imaginal figures. Through an imaginal hermeneutic, I have attempted to treat each face as a residual deposit of Jung’s psyche, which one can evidently still learn from, just as paleontologists can learn a great deal about dinosaurs by studying their fossils. The commentary that follows could be viewed as the product of an intuitive process combined with a more methodical form of treasure hunting, which found some success by seeking out parallels for the faces in Jung’s corpus and personal history. As discussed in chapter 6, in some instances the figures likely correspond with real historical people whereas in others they suggest spontaneous active imaginations that arose from Jung’s fantasy function. The legend to image 169 (Figure 20) above is intended to assist readers orient themselves to the 127 faces and skulls.

376 TREASURE HUNTING 1. The face seems to depict an elderly man with a gaunt appearance and irritated expression. The face resembles the likeness of the French philosopher Henri Bergson. Jung alluded to Bergson in Liber Novus, his Collected Works, and a letter dated September, 16, 1930. However, Bergson was still alive in 1930 thereby making it less likely that the figure represents him. The face then likely suggests an active imagination. 2. A mustached slightly balding middle-aged man looks directly at the reader. He is formally dressed, clad in a suit and tie. That Jung imbued the face with color seems significant. This figure seems related to image #29 and although there is no empirical basis for my conjecture, it seems to me that he might depict one of the doctors that worked at the insane asylum in chapter 15 (Nox Secunda) of Liber Novus. 3. Unknown. 4. Although I have no evidence to base my conjecture, I intuitively sense that the figure depicts the “gentleman with a long, curly wig” (Jung, 1961/1989, p. 307) from Jung’s 1911 dream. That the face stares so intensely into the rainbow burst seems to coincide with Jung’s description of the bewigged gentleman in Memories, Dreams, Reflections, wherein he fervently sought answers from Jung. 5. Although one cannot say for sure, the figure intuitively suggests the superintendent of the insane asylum mentioned in chapter 15 (Nox Secunda) of Liber Secundus. 6. As indicated in chapter 6, Lance Owens has observed that this face resembles the likeness of C. G. Jung, however, because the image was likely painted in 1930, its appearance does not correspond with what Jung looked like when he was 55 years old. Moreover, I have theorized that Jung is not directly represented in the throng of faces and skulls, but is likely figuratively depicted within the blue and white orb.

377 TREASURE HUNTING 7. As discussed in chapter three, this face bears a striking resemblance to Emanuel Swedenborg, who looks directly at the blue object emitting the rainbow burst. Swedenborg exercised a profound influence on Jung. 8. The face resembles the Swiss psychologist Theodore Flournoy (1854-1920). Jung greatly admired Flournoy, and viewed him with fatherly adoration. Flournoy’s book From India to the Planet Mars had a major impact on Jung’s early ideas. He also used Flournoy’s study of Miss Frank Miller’s fantasies as the basis for Symbols of Transformation (i.e., Psychology of the Unconscious). 9 and 10. Both faces resemble Jung’s father, Paul Jung. 11. The face is peculiar in that it seems to depict a young child, possibly Jung’s older brother. Although rarely mentioned, Jung had a older brother who died not long after he was born. Charet (1993) wrote “An event that Jung never included in the tangle of his earliest memories is the death of his elder brother, named after his father, Paul Jung. He was born in August 1873 and died soon after” (p. 71). 12. Female figure, identity unknown. 13. The peculiar figure is clad in period attire in what appears as military clothing. He seems to wear a world war one era uniform with tunic. 14. The figure bears a striking resemblance to William Shakespeare (1564-1616), whose plays Jung was familiar with and mentioned several times in his Collected Works. 15. Unknown. 16. The figure depicts a distinctly large face, however it is too vague to associate to any particular person or image. 17. Unknown.

378 TREASURE HUNTING 18. Figure with peculiar appearance that looks somewhat like Martin Heidegger, yet it is doubtful that Jung would intentionally incorporate the likeness of Heidegger into image 169. Heidegger did not play any major role in Jung’s life or work, especially circa 1930. 19. The figure is partially occluded, it too looks somewhat like Paul Jung. 20. Another bewigged individual who as indicated in chapter 2 may represent Goethe. 21. This figure depicts a man with a beard and mustache, identity unknown. 22. Like face #8, the figure resembles Theodore Flournoy. 23. This figure shows a partially occluded face, identity unknown. 24. The figure suggests a bewigged individual who appears female. Cambray has opined that the face resembles the Romantic poet Novalis (personal communication, October 4, 2016). 25. This figure is another bewigged male with white hair, however, the features are too obscure to associate. 26. The face bears a striking resemblance to Jung’s spiritual guide Philemon. 27. As discussed in chapter 3, when I first examined this figure I noted the similarity between the face and Odilon Redon’s painting “The Distributor of Crowns.” Although, Jung’s Redon collection115 did not include the aforementioned painting, he may have encountered the image in March, 1913 while attending the Armory Art Show in New York. 28. The face is of a bearded male, whose head is slightly turned towards the rainbow burst. His expression appears confused. Cambray has opined that the face vaguely

Jung’s library has three books pertaining to the artwork of Odilon, volume one and two of The Complete Graphic Work of Odilon Redon and Odilon Redon, however, these books do not include the “The Distributor of Crowns.” 115

379 TREASURE HUNTING resembles the German biologist Ernst Haeckel (1834-1919) (personal communication, October 4, 2016). Cambray (2013) wrote on Haeckel’s apparent influence on Jung in his essay “The Red Book: Entrances and Exits,” suggesting that the images of marine life published in Haeckel’s famous work Art Forms in Nature (1904/1998) probably gripped Jung’s imagination. Cambray underscored the mandalic qualities of Haeckel’s drawings, which evidently left an impression on Jung’s unconscious (p. 38). Cambray convincingly argued that Haeckel’s images exhibited an aesthetic influence, however subtle, on Jung’s own paintings in Liber Novus. 29. Like face #2, the figure is formally dressed and clad in a suit and tie. Similarly, he may be one of the doctors depicted in chapter 15 (Nox Secunda) of Liber Secundus. 30. Unknown. 31. Unknown. 32. The figure is a religious official who wears a red zucchetto.116 The zucchetto was adopted around the early Middle Ages. The amaranth and red zucchetti are considered a symbolic honor granted to the prelate position of the Catholic Church. However, the figure is likely a cardinal rather than a prelate.117 He looks away from the rainbow burst. 33. The figure suggests Ezechiel, one of the dead Anabaptists in Liber Novus, who is described as a bearded man with tousled hair and dark shining eyes (Jung, 2009, p. 294). 34. A figure with a long brown beard and clad in period attire looks directly at the reader. 35. A distinct face in period attire looks toward the reader, his eyes are slightly turned left at the rainbow burst.

116

A zucchetto is a small skullcap traditionally worn by clerics of various Christian sects to include the Catholic Church, the Orthodox Church, and by the higher clergy in Anglicanism. 117 A prelate is an administrator within a governing body of a church.

380 TREASURE HUNTING 36. The figure has a distinct face but is too obscure to make any association. 37. Another apparent female figure whose appearance is too vague to draw any connection to a real person or active imagination. 38. Unknown. 39. This figure wears period attire and has a peculiar looking collar around his neck. 40. Unknown. 41. This figure displays a distinct face looking slightly down. 42. This figure displays a distinct hairline and is partially occluded. Cambray has commented that face resembles the Romantic author E. T. A. Hoffmann, at least in the eyes (personal communication, October 4, 2016). Jung was familiar with the work of Hoffmann, and mentioned two of the author’s principal books, The Devil’s Elixirs and The Golden Pot, in his Collected Works. 43. The figure is clad in period attire and has a distinct hairline. 44. This figure has a distinct face but his appearance is too vague to make an association. 45. This figure depicts an unknown individual clad in period attire. 46. Unknown. 47. Unknown. 48. Unknown. 49. This figure has a distinct hairline and peculiar face; unknown. 50. This figure is clad in period attire and wears a religious cap (zucchetto). The figure resembles historical depictions of Nicholas of Cusa (1401-1464), who Jung (1954/1969a) mentioned in his Collected Works: “All contrariety notwithstanding, they do show a

381 TREASURE HUNTING constant propensity to union, and Nicholas of Cusa defined God himself as a complexio oppositorium” (CW8, para. 406). 51. Unknown. 52. Unknown. 53. Although the face features few details, its bears a resemblance to the historical likeness of the German theologian and philosopher Friedrich Schleiermacher (17681834), who Jung mentioned in his letters. In a letter to the French scholar of Islamic philosophy, Henry Corbin, Jung (1976) wrote: Schleiermacher really is one of my spiritual ancestors. He even baptized my grandfather—born a Catholic—who by then was a doctor. This grandfather became a great friend of the theologian de Wette, who had connections of his own with Schleiermacher. The vast, esoteric, and individual spirit of Schleiermacher was a part of the intellectual atmosphere of my father’s family. I never studied him but unconsciously he was for me a spiritus rector. (p. 115) 54. The man wears a religious cap and stares toward the rainbow burst. 55. This figure is clad in period attire and wears a ruff, a decorative collar commonly worn in Europe between the mid-16th and the mid-17th centuries. 56. Unknown. 57. The figure is peculiar in that he seems to look away in the opposite direction of figures #90, #91, #110, and #111. Jung colored his hair in with a light brown. 58. This figure has the same crazed look as #33 and thus suggests that he too is one of the dead Anabaptists described in chapter 14 (Nox Secunda) of Liber Novus. His appearance looks demonic.

382 TREASURE HUNTING 59. The face looks directly at the reader and seems to wear period attire. 60. The face is looking up intensely at the rainbow burst, however, its facial features are too vague to say anything substantive about. 61. Unknown. 62. The figure wears period attire and a zucchetto. As mentioned in chapter 2, Jung may have intended the image to represent Dante Alighieri, whose Divine Comedy influenced the writing of Liber Novus. 63. Unknown. 64. Unknown. 65. The face bears a resemblance to the philosopher Immanuel Kant, who played an influential role in the life and work of Jung. 66. This face depicts another religious figures who wears a zucchetto. Nothing else is noted. 67. Unknown. 68. Unknown. 69. Unknown. 70. Unknown. 71. This figure is clad in a military uniform. 72. This figure has long hair but is rendered too vaguely to say anything additional about. 73. Unknown. 74. Unknown. 75. Unknown. 76. Unknown.

383 TREASURE HUNTING 77. Unknown. 78. The figure is clad in a military uniform and wears medals. 79. Unknown. 80. Unknown. 81. The odd-looking face suggests an aged female, who resembles Jung’s millennial ancestress, an anima figure he carved into stone at Bollingen. 82. Unknown. 83. Unknown. 84. Unknown. 85. The figure depicts a man with a goatee who has a peculiar facial expression. The man is clad in period attire. 86. Unknown. 87. Unknown. 88. The figure is clad in period attire and wears a ruff. 89. A strange looking figure who seems to be looking toward the rainbow burst and wears what looks like a barrister wig. 90. A figure who strongly resembles Abraham Lincoln (1809-1865) looks away. At first glance, it is difficult not to notice the resemblance between this figure and the 16th president of the United States. Although one cannot say for certain, it is known that Jung was familiar with Lincoln and even praised him in a letter: Abraham Lincoln has crossed my path, when I was a little boy in school. He was pointed out to the schoolchildren as the model of a citizen, who has devoted his life to the welfare of his country—very much in the same way as those great

384 TREASURE HUNTING men—bene meriti de patria—of the Roman republic and the Greek polis. Thus Abraham Lincoln has remained since my early days as one of the shining stars in the assembly of immortal heroes. Is there greater fame than to be removed to the timeless sphere of mythical existence? (Jung, 1938)118 Perhaps Lincoln’s positioning among the “assemblage of distinguished spirits” can be attributed to nothing more than Swiss prejudice or his “looking away” from the rainbow burst may be attributed to his untimely death as a result of assassination. Nonetheless, the letter clearly demonstrates that Jung held Lincoln in the highest esteem. 91. This figure depicts a man with a large head who is looking in the opposite direction of the rainbow burst. 92. The figure is clad in period attire but his identity is unknown. 93. This figure bears a striking resemblance to the 19th century philosopher Friedrich Wilhelm Joseph Schelling (1775-1854). Jung accredited Schelling as a key contributor of the development of the idea of the unconscious in Germanic idealism. 94. This figure depicts a peculiar looking man with a distinct haircut. Nothing else is noted. 95. Archaic man. In an essay titled “Archaic Man,” Jung (1931/1970) wrote that “every civilized human being, however high his conscious development, is still an archaic man at the deeper levels of his psyche” (CW10, para. 105). 96. Archaic man. 97. Archaic man. 98. This figure is clad in period attire and features a tortured expression.

118

The Jung-Lincoln letter is located at the archives of the Abraham Lincoln Library and Museum in Harrogate, Tennessee.

385 TREASURE HUNTING 99. Unknown 100. As discussed in chapter three, the pileus-clad figure suggests Odysseus (thirdcentury BCE.) whose mythological encounter with the dead seems to have provided Jung with a mythological forerunner of his own nekyia experience. 101. This figure suggests a strange looking man who is looking slightly down. 102. Unknown. 103. Unknown. 104. This figure features a peculiar looking face with a large nose. He is either wearing a cowl or has a very dense growth of hair on his face and head. 105. Unknown. 106. Unknown. 107. Unknown. 108. Unknown. 109. This figure depicts a very peculiar looking face that almost looks inhuman. 110. This figure depicts an unknown face that looks away. 111. This figure depicts an unknown face that looks away. 112. Archaic man. 113. Archaic man. 114. Archaic man. 115. Archaic man with beard. 116. Archaic man. 117 thru 127. Skull caricatures. The skulls seem to symbolize an early epoch of human development, dating back to an unknown prehistoric time. As mentioned in chapter 6, the

386 TREASURE HUNTING skulls are reminiscent of Jung’s (1961/1989) dream of two ancient skulls (p. 159). Because Jung’s dream dealt with the concept of the collective unconscious, the skulls suggest one of the deepest layers of the human psyche.

387 TREASURE HUNTING

388 TREASURE HUNTING Appendix B Supplementary Comparative Analysis It is helpful to compare image 169 with other paintings for the purpose of amplification. Such a comparative method proceeds by analogy and relies on the use of mythological, historical, religious, and cultural parallels to provide a meaningful context around a symbolic expression. Jung recommended employing parallels from myths, legends, folklore, fairy tales, and alchemy to engage with the deeper psychic patterns of the personality thereby promoting individuation. I have selected five paintings to compare with image 169 as a way to further imagine, associate, and elaborate its archetypal contents. The aim of presenting this supplementary material is to underscore how motifs in image 169 suggest a particular inflection of a universal motif. The crosscultural parallels are abundant. The first image is a form of religious iconography that depicts the Christ Pantocrator with a cross-nimbus (Figure 21). The Greek term Pantocrator most commonly translates to “Almighty” or “All-powerful.” The mosaic is located at the Daphne Monastery Church in Athens, Greece, and originated around 1100 CE. Figure 21. Christ Pantocrator, Daphne Monastery Church, Athens, Greece. Author unknown. Public domain.

Christ holds a book in his left hand, and makes a gesture with his right hand. A rainbow containing the colors red,

yellow, green, and blue encircles him while a nimbus119 inlaid with a cross adorns his head. The two principal motifs that merit commentary in relation to image 169 are the

119

A halo, aureole, and nimbus all essentially refer to a luminous circle of light. In art, a halo typically represents the supernatural irradiating forces that originate from the deity.

389 TREASURE HUNTING cross-nimbus and the color quaternity depicted by the rainbow. It is important to note that the Bible associates a rainbow to Christ: “And the one who sat there had the appearance of jasper and ruby. A rainbow that shone like an emerald encircled the throne” (Revelation 4:3). Christ also plays an important role in Liber Novus, which suggests that he is humanity’s “natural model” (Jung, 2009, p. 293). As earlier discussed, image 169 has a cruciform at its center, superimposed with a square-shaped object, which resembles, albeit obliquely, the cross-nimbus encircling Christ’s head. Thirteenth century religious writer William Durandus (as cited in Neale & Webb, 1893) suggested that a nimbus containing an inlaid cross, usually in the figures of Christ, symbolizes the glorification of his humanity (p. 54). The nimbus however is a symbol that predates Christianity. Jung (1912/1967) described the nimbus round the head of Christ in Symbols of Transformation associating it to an early form of sun worship (CW5, para. 163). One can find parallels of this solar symbolism in Mithraism, GrecoRoman paganism, and the ancient Egyptian religion. Remnants thereof are still evident in many contemporary Christian practices and ideas. In Liber Novus, Jung (2009) alluded to this Pagan-Christian syncretism in a dialogue with an anchorite in the desert: He looks at me suddenly as if doubtful and suspicious. “But,” he continues, “I love the desert, do you understand? This yellow, sun-glowing desert. Here you can see the countenance of the sun every day; you are alone, you can see glorious Helios—no, that is—pagan—what’s wrong with me? I’m confused—you are Satan—I recognize you—give way; adversary!” (p. 272)

390 TREASURE HUNTING Jung’s dialogue with the anchorite highlights the unconscious transformation of the godimage in that Christ assumed many of the same attributes of pre-Christian deities. A subsequent dialogue between Jung (2009) and the Anchorite aptly articulates this idea: I: “But don’t you think that Christianity could ultimately be a transformation of your Egyptian teachings?” A: “If you say that our old teachings were less adequate expressions of Christianity, then I’m more likely to agree with you.” I: “Yes, but do you then assume that the history of religions is aimed at a final goal?” (p. 272) A 14th century fresco titled “The Last Judgement” (Figure 22) is also noteworthy for its archetypal symbolism. Painted by Giotto di Bondone (1267 – 1337), the fresco is in Padua, Italy, at the Scrovegni Chapel. The painting depicts Christ with a golden crossnimbus. From Christ’s countenance issues a fiery aureole. A rainbow encircles his throne just as in the Daphne mosaic. The rainbow is in the shape of a mandorla, an almond shaped

Figure 22. The Last Judgement, Scrovegni Chapel, Padua, Italy. Giotto di Bondone, 13th century. Public domain.

aureole that surrounds depictions of Christ in traditional Christian art. One can vaguely see the four apocalyptic beasts, symbols of the tetramorph, beneath him. The tetramorph—angel, oxen, lion, and eagle—comprise the four columns of his throne. In Christian tradition, each evangelist—Matthew, Mark, Luke, and John—represented a distinct facet of Christ and is analogous to the tetramorph. The motif is not exclusive to Christianity but is also found in Egyptian mythology in the form of Horus and his four

391 TREASURE HUNTING sons. Jung (1957/1967) observed, “It is known that Horus with his four sons has close connections with Christ and the four evangelists” (CW13, para. 31). The tetramorph could be viewed as the four columns of the axis mundi and accordingly constitute the fourfold aspect of the archetype of the self. In astrology, the symbols comprising the tetramorph represent the four fixed signs of the zodiac and thus suggest a central role in maintaining the order of the cosmos. In this regard, the four symbols correspond with the four classical elements, which give rise to the fifth essence in the form of Christ. Christ occupies the center of the Christian mandala that seems to correspond to vijnana. In Aion, Jung (1951/1968a) wrote that, “Christ exemplifies the archetype of the self” (CW9ii, para. 70). Elsewhere, Jung (1944/1968) indicated that both Christ and the Buddha are symbols of the self, although he suggested that the Buddha was a more differentiated form of the self than Christ (CW12, para. 22). The Christian mystic Hildegard of Bingen (1098-1179) painted the third image (Figure 23) during the 12th century. Bingen included the image in her principal work, Liber Scivias. It depicts a choir of angels arranged in concentric circles around a center white dot symbolizing God. Hildegard painted the vision upon hearing a voice instruct her to Figure 23. The Choirs of Angels, Liber Scivias. Hildegard de Bingen, 12th century. Public domain.

write down what she saw and heard. The image starkly resonates with

392 TREASURE HUNTING Dieterich’s interpretation of Dante’s Celestial Rose. As early as 1911, Jung was familiar with Liber Scivias, having included one of its paintings in Symbols of Transformation. The image consists of nine concentric circles comprised of angels. According to Hildegard of Bingen, (moving from outside to inside) the outermost circle consists of angels with human faces, followed by archangels in the second circle. The third circle shows Virtues with human faces, the fourth circle consists of Powers, and the fifth circle of Principalities apparently consists of white marble with human heads affixed with burning torches. The sixth circle consists of Dominions, the seventh circle of Thrones that resemble glowing mounds, the eighth row of Cherubim with eyes and wings, and the ninth innermost circle of Seraphim who burn like fire. Viewed together, the seventh, eighth, and ninth circles resemble a ten-petalled flower with a white luminous pistil. As in Dieterich’s painting and image 169, the angelic host move around the white circle. The image is noteworthy in that it forms, in contradistinction to Jung’s own psychocosmology, a theocosmology predicated on the Judeo-Christian tradition, not unlike Dante’s Divine Comedy. One can also find the nimbus symbol in depictions of the Buddha (Figure 24). The Buddha painting shown similarly has a nimbus and a rainbow. Like the Christ Pantocrator image, the Buddha is making hand gestures. According to Buddhist tradition, these hand gestures have a distinct symbolic meaning. Buddha’s right raised hand is meant to express “no Figure 24. Tibetan Buddhist Painting, Author unknown, 14th century. Public domain.

393 TREASURE HUNTING fear” (i.e., abhaya mudra) whereas his left lowered hand (i.e., varada mudra) expresses compassion, liberation, and acceptance. The Buddha wears a red sanghati120 and sits on a lotus throne within a rainbow nimbus. In Buddhism, the lotus throne symbolizes the soul that originates from the dark waters of chaos and unfolds into a Bodhi state (i.e., enlightenment). Religious writer Titus Burkhardt (2009) further suggested that The fully expanded lotus is also like a wheel, and the wheel is also a symbol of the cosmos or of the soul; the spokes united by the hub signify the directions of space or the faculties of the soul united by the Spirit. (p. 53) The Buddha figure displays a subtle smile in contradistinction to the more solemn expression of Christ in figure 21. As in the Christ Pantocrator mosaic, the colors suggest the color quaternity depicted in image 169. The stark parallels in Christian and Buddhist art suggest an archetypal basis for both Eastern and Western images. A Buddhist mandala image (Figure 25) that originated in the 14th century merits commentary. The mandala depicts the vajradhatu or diamond realm. The mandala portrays the five tathagatas (i.e., he who has thus gone). Vairochana presides over the mandala at the center and embodies the Buddhist concept of shunyata, a form of transcendence. Surrounding Figure 25. Vajradhatu Mandala, Author unknown, 14th century Tibet. Public domain.

120

Buddhist monastic robe.

Vairochana are the cardinal points of the compass, which are personified by the four celestial Buddhas:

394 TREASURE HUNTING Vajra-sattva (East), Ratnasambhava (South), Amitabha (West), and Amoghasiddhi (North). Viewed psychologically, each Buddha serves as a gatekeeper to one of the four functions of consciousness represented by the colors blue, red, yellow, and green. The mandala symbolizes the sambhogakaya,121 which according to Lauf (1977) represents the body of spiritual bliss at the visionary level of the divine image (p. 230). Avalon (1919) described the concept as follows, The Sambhoga-kaya is the body of bliss or enjoyment with form (rupa-van) and therefore visible to the Bodhisattvas in Heaven consisting of the five Skandhas— Rupa, Vedana, Samjna, Samskara, Vijnana—and is an intermediate manifestation of the Dharmadhatu. (p. xviii) Jung (1958) compared the sambhogakaya state with the alchemical coniunctio: It means much the same as the alchemical term “coniunctio,” the union of male and female, the union of the material body, which is female, with the masculine Spirit. We find the union of two worlds in these “Sambhogakaya Beings.” (p. 86) Jung further suggested that “the Sambhogakaya corresponds exactly to the modern term collective unconscious; and the archetypal figures correspond to the Devatas of our text [Shri-Chakra-Sambhara Tantra]” (p. 82). Elsewhere, Jung (1954/1969b) associated the sambhogakaya with the “matrix of all archetypes or structural patterns” (CW11, para. 790). The gods that appear to the yogin in the sambhogakaya are equivalent to “archetypal thought-forms” (para. 791). One could view sambhogakaya as an

121

According to Tibetan Buddhism, one manifestation of the Sambhogakaya is the rainbow body. Buddhist tradition suggests that an enlightened yogin may be able to attain what is called the rainbow body, whereby the gross physical body transforms into a radiant body that can transcend the wheel of existence (i.e., samsara) (Evans-Wentz, 1935/2000, p. 318, n. 3). This state is synonymous with the transfigured body of Christ described in the Bible (Luke 9:28-36).

395 TREASURE HUNTING intermediary realm that parallels Corbin’s notion of the mundus imaginalis. Thus, one could conjecture that during Jung’s confrontation with the unconscious he entered a psychic state akin to the visionary sambhogakaya.

396 TREASURE HUNTING

Appendix C Timeline 1875 July 26 – Carl Gustav Jung is born in the village of Kesswil, Switzerland (1978, Brome, p. 27). 1881 November 15 – Helene Preiswerk is born (Charet, 1993, p. 158). 1895 April 18 – Jung is admitted to medical school (Von Franz, 1983, p. v; McLynn, 1996, p. 36). 1895 May 18 – Jung joins Basel-section of Zofingia fraternity (Von Franz, 1983, p. xiii; Ellenberger, 1970/1981, p. 665). 1895 June – Jung attends his first séance (Jaffé, 1975, p. 29; Zumstein-Preiswerk as cited in Hillman, 1976, p. 126). 1896 – Jung attends additional séances. 1896 January 28 – Jung’s father dies122 (Jung, 1977, p. 5). 1896 March – Jung’s father visits him in a dream (Jung, 1961/1989, p. 96). 1896 November – Jung gives Kerner’s The Seeress of Prevost: Being Revelations of the Inner Life of Man and the Inter-Diffusion of a World of Spirits in the World we Inhabit to Helene Preiswerk for her 15th birthday (Zumstein-Preiswerk as cited in Hillman, 1976, p. 125).

“Six weeks after his death my father appeared to me in a dream. Suddenly he stood before me and said that he was coming back from his holiday. He had made a good recovery and was now coming home. I thought he would be annoyed with me for having moved into his room. But not a bit of it! Nevertheless, I felt ashamed because I had imagined he was dead. Two days later the dream was repeated. My father had recovered and was coming home, and again I reproached myself because I had thought he was dead. Later I kept asking myself: ‘What does it mean that my father returns in dreams and that he seems so real?’ It was an unforgettable experience, and it forced me for the first time to think about life after death” (1961/1989, p. 96). 122

397 TREASURE HUNTING 1896 November 28 – Jung gives first lecture at Zofingia fraternity titled “The Border Zones of the Exact Sciences” (Von Franz, 1983, p. xvi; Ellenberger, 1970/1981, p. 687). 1897 – Jung gives Helene Preiswerk’s sister Louise (known as Luggy) two books by Carl du Prel, Das Ratsel des Menschen [The Enigma of Man] and Der Spiritismus (Shamdasani, 2012, p. 216, n. 61). 1897 May – Jung gives second lecture at Zofingia fraternity titled “Some Thoughts on Psychology” (Von Franz, 1983, p. xvii). 1897 May 4 – Jung checks out a copy of Schopenauer’s Parerga und Paralipomena from Basel University library (Shamdasani, 2012, p. 216, n. 27). 1897 May 15 – Jung checks out the fourth volume of Nietzsche’s Werke (Shamdasani, 2012, p. 216, n. 49). 1897 July 1 – Jung checks out the second and third volumes of Nietzsche’s Werke along with Beyond Good and Evil (Shamdasani, 2012, p. 216, n. 49). 1897 August 17 – Jung checks out Kerner’s The Seeress of Prevost: Being Revelations of the Inner Life of Man and the Inter-Diffusion of a World of Spirits in the World we Inhabit from the library at Basel University (Shamdasani, 2012, p. 216, n. 58). 1897/1898 (winter semester) – Jung gives third lecture at Zofingia fraternity titled “Inaugural Address upon assuming chairmanship of Zofingia Lectures” (Von Franz, 1983, p. 49). 1898 January 15 – Jung checks out Karl Robert Eduard von Hartmann’s Die Philosophie des Unbewussten [Philosophy of the Unconscious] (Shamdasani, 2012, p. 216, n. 48).

398 TREASURE HUNTING 1898 January 18 – Jung checks out Swedenborg’s The Heavenly Arcana (Shamdasani, 2012, p. 216, n. 51). 1898 (summer) – Jung gives fourth lecture at Zofingia fraternity titled “Thoughts on the Nature and Value of Speculative Inquiry” (Von Franz, 1983, p. xx) 1898 August – Jung’s oak table inexplicably cracks from the rim to beyond the center and two weeks later, a bread knife shatters into multiple pieces (Bair, 2003, p. 51; Jung, 1961/1989, p. 105). 1898 September 13 – Jung checks out von Hartmann’s Ding an Sich [Thing in Itself] (Shamdasani, 2012, p. 216, n. 48). 1898 September 16 – Jung checks out Swedenborg’s Heaven and Hell (Shamdasani, 2012, p. 216, n. 51). 1898 October 18 – Jung checks out Swedenborg’s The Earths in the Solar System, Which we Call Planets, Intercourse between Soul and the Body, and Conjugal Love (Shamdasani, 2012, p. 216, n. 51) 1898 October 18 – Jung checks out von Hartmann’s Die Selbstzersetzung des Christentums und die Religion der Zukunft [The Self-Decay of Christianity and the Religion of the Future] (Shamdasani, 2012, p. 216, n. 48). 1899 January – Jung gives a talk to the Zofingia fraternity on the theology of Albrecht Ritschl (Ellenberger, 1970, p. 688). 1899 October – Helene Preiswerk moves to Paris, France. Séance experiments abruptly end (Charet, 1993, p. 157). 1900 July – Jung completes his medical studies (Von Franz, 1983, p. v).

399 TREASURE HUNTING 1900 December 10 – Jung assumes his position as an assistant at the Burgholzi Psychiatric Hospital (Charet, 1993, p. 162). 1902 – Jung stops writing in his Black Books in 1902, taking the project up again in the autumn of 1913 (Jung, 2009, p. 233, n. 28). 1902 October – Jung visits Helene Preiswerk in Paris, France (Charet, 1993, p. 158). 1903 February 14 – Jung marries Emma Rauschenbach (Ellenberger, 1970, p. 668). 1907 March – Jung meets Freud for the first time (1961/1989, p. 249). 1911 January 15 – Jung dines with Albert Einstein who discusses with him and other guests (e.g., Bleuler) the then-nascent theory of relativity (Freud & Jung, 1973, p. 171, n. 125). 1911 October – Jung has a dream in Arona, Italy, where he dreamed of a “bewigged gentleman” who spoke Latin and posed questions to him (1961/1981, p. 307). 1911 November 13 – Helene Preiswerk dies (Charet, 1993, p. 185). 1912 September – Jung gives a series of nine lectures on psychoanalysis in New York (Ellenberger, 1970, p. 697). 1912 December – Jung dreams of an Italian loggia with pillars where a white bird descends and transforms into a little girl (1961/1989, p. 171).123

123

Again it was dreams that occupied him, as enigmatic as they were meaningful, for example one around Christmas in 1912, at a moment when Jung was not yet thinking of a final split from Freud and the Psychoanalytical Society, or still wished to avoid it. The action took place in the surroundings of an Italian renaissance palace. A white dove came to rest on the magnificent emerald table at which the dreamer was sitting. The dove spoke, with a human voice, about the possibility of her being transformed, along with twelve dead people who were also involved. Jung was unable to interpret the dream; in particular it was not clear whether the number twelve should be connected with the apostles, the signs of the zodiac, or some other manifestation of twelve. Should the emerald table be compared with the tradition-laden tabula smaragdina of Hermes Trismegistus, and thus with the ancient Egyptian mythological figure of ThothHermes, the representative of hermetic and alchemical wisdom? (Wehr, 1987, pp. 170-171).

400 TREASURE HUNTING 1913 March – Jung likely attends the Armory Art Show in New York, NY, where he was ostensibly exposed to an assortment of artwork. (Jung, 1989/2012, p. 59, n. 5; 2009, p. 203). 1913 May 16 – Jung attends a discussion given by Otto Mensendieck on “The GrailParsifal Saga” (2009, p. 303, n. 221). 1913 September 7-8 – Jung speaks at the Munich Psycho-Analytical Conference on psychological types (Shamdasani, 2012, p. 73; Ellenberger, 1970, p. 699). 1913 October – While on a train, Jung has a vision of a catastrophe where the sea turns to blood (Jung, 1989/2012, p. 44; 1961/1989, p. 175; 1977, p. 232). 27 October 1913 Jung breaks off relations with Freud via a letter (1974, p. 260). 1913 November 12 – Jung begins to write in his Black Books. (Jung, 1989/2012, p. 44; Shamdasani, 2012, p. 65). Jung drafts Chapter I: Refinding the Soul (2009, p. 232, n. 34). 1913 November 14 – Chapter II: Soul and God (2009, p. 233, n. 46) 1913 November 15 – Chapter III: On the Service of the Soul (p. 234, n. 63) 1913 November 21 – Jung gives a presentation to the Zurich Psychoanalytical Society on “Formulations on the psychology of the unconscious” (2009, p. 235, n. 71). 1913 November 22 – The spirit of the depths falls silent during the six subsequent nights that follow and according to Jung, on the seventh night it spoke the following words: “Look into your depths, pray to your depths, waken the dead” (2009, p. 140). 1913 November 28 – Chapter IV: The Desert (2009, p. 235, n. 72) 1913 December 11 – “No chapter number assigned:” Experiences in the Desert (2009, p. 236, n. 77)

401 TREASURE HUNTING 1913 December 12 – Chapter V: Descent into Hell in the Future (p. 237, n. 81). Jung has an active imagination of digging a hole and subsequently descending until he finds himself wading in black slime. Jung eventually encounters a cave which he enters (Jung, 1989/2012, p. 52; 2009, p. 200).124 1913 December 15 – Jung has a dream where he, accompanied by an unidentified youth, slays Siegfried (Shamdasani, 2009, p. 202). 1913 December 16 – Chapter VI: Splitting of the Spirit (2009, p. 240, n. 103) 1913 December 18 – Chapter VII: Murder of the Hero (p. 241, p. 112) 1913 December 19 – Jung gives a talk “On the Psychology of the Unconscious” to the Zurich Psychoanalytical Society (2009, p. 248, n. 185). 1913 December 20 – Chapter VIII: The Conception of the God (2009, p. 243, n. 125) 1913 December 21 – Chapter IX: Mysterium. Encounter, (2009, p. 245, n. 156)125 1913 December 22 – Chapter X: Instruction (2009, p. 248, n. 185) 1913 December 25 – Chapter XI: Resolution (2009, p. 251, n. 206) 1913 December 26 – Chapter I: The Red One (2009, p. 259, n. 7)126 1913 December 28 – Chapter II: The Castle in the Forest (2009, p. 261, n. 20) 1913 December 29 – Chapter III: One of the Lowly (2009, p. 265, n. 35) 1913 December 30 – Chapter IV: The Anchorite: Dies I [Day 1] (2009, p. 267, n. 44) 1914 January 1 – Chapter V: Dies II [Day 2] (2009, p. 270, n. 58)

This katabasis episode marks Jung’s first visual fantasy. Jung experiences an active imagination, not unlike the one he experienced on 12 December 1913, however, he descends much deeper. Jung estimated that he descended one thousand feet and compared the experience to going to the moon. It is at this time that he first encounters Elijah and Salome. (Jung, 1989/2012, p. 68; 2009, p. 245). Jung catches a glimpse of Odysseus on the high seas in a vision (Shamdasani, 2012, p. 100). 126 Jung inscribed the following lines from the Commedia into the Black Book he was working in at the time: “I am the one who, when Love inspires me, takes note, and goes setting it forth after the fashion which he dictates with me” (Purgatorio, Canto 25, lines 97-99; Shamdasani, 2012, p. 79). 124 125

402 TREASURE HUNTING 1914 January 2 – Chapter VI: Death (2009, p. 273, n. 69) 1914 January 5 – Chapter VII: The Remains of Earlier Temples (2009, p. 275, n. 82) 1914 January 8 – Chapter VIII: First Day (2009, p. 277, n. 98) 1914 January 9 – Chapter IX: Second Day (2009, p. 282, n. 112) 1914 January 9 – (Presumably) Chapter X: The Incantations No Date (2009, p. 284) 1914 January 10 – Chapter XI: The Opening of the Egg (Rebirth of the God) (2009, p. 286, n. 135) 1914 January 12 – Chapter XII: Hell (2009, p. 288, n. 142)127 1914 January 13 – (Presumably) Chapter XIII: The Sacrificial Murder (no date) (2009, p. 290) 1914 January 14 – Chapter XIV: Divine Folly (2009, p. 292, n. 159) 1914 January 17 – Chapter XV: Nox Secunda (2009, p. 293, n. 168). The dead appear in a fantasy (Shamdasani, 2009, p. 205). 1914 January 18 – Chapter XVI: Nox Tertia (2009, p. 298, n. 191). Jung finds himself on a steamer where he speaks with a fool who thinks he is Nietzsche and Christ. The fool declares that they are in hell (Shamdasani, 2010, p. 12; Jung, 2009, p. 298). 1914 January 19 – Chapter XVII: Nox Quarta (2009, p. 302, n. 216) 1914 January 22 – Chapter XVIII: The Three Prophecies (Shamdasani, 2009, p. 202); Jung has a dream that inspires image 125 in the calligraphic volume (Wehr, 1989, p. 43). 1914 January 23 – Chapter XIX: The Gift of Magic (p. 307, n. 238). Jung’s “I” receives a magical rod [Black Book 4] (Shamdasani, 2012, p. 70).

127

Jung has a fantasy that he is in a gloomy vault, whose floor consists of damp stone slabs. In the middle there is a column from which ropes and axes hang. At the foot of the column there lies an awful serpentine tangle of human bodies (2009, p. 288).

403 TREASURE HUNTING 1914 January 27 – Chapter XX: The Way of the Cross (2009, p. 309, n. 250) 1914 January 27 – Chapter XXI: The Magician (2009, p. 312, n. 263)128 1914 January 27 – Philemon first appears in the Black Books (Shamdasani, 2009, p. 201). 1914 January 29 – Jung speaks to his soul, subdivision added (2009, p. 317, n. 284). 1914 January 31 – (Black Book Entry) (2009, p. 317, n. 287) 1914 February 1 – Jung speaks to his serpent, subdivision added (2009, p. 318, n. 297). 1914 February 2 – Jung’s serpent soul tells Jung he is in hell. Jung encounters a hanged man (Shamdasani, 2010, p. 12; Jung, 2009, p. 322). 1914 February 2 – New section with hanged man; subdivision added (2009, p. 322, n. 316) 1914 February 9 – Jung speaks to his serpent; subdivision added (2009, p. 323, n. 321). 1914 February 11 – Jung hears Salome crying; subdivision added (2009, p. 325, n. 327). 1914 February 13 – Jung gives a lecture “On Dream Symbolism” to the Zurich Psychoanalytical Society (2009, p. 327, n. 344). 1914 February 23 –In Black Book 4, Jung continues his dialogue with his soul (2009, p. 327, n. 344). 1914 April – Jung recounts a dream as early as April 1914 whose symbolic content he would later interpret as alchemical (Bennet, p. 70).129

Jung seems to have foreshadowed his synchronicity hypothesis: “It belongs to the essence of the forward movement that what was returns. Only the ignorant can marvel at this. Yet the meaning does not lie in the eternal recurrence of the same, but in the manner of its recurring creation at any given time” (2009, p. 311). Jung (1952/1969b) referred to synchronicities as spontaneous acts of creation in time (CW8, para. 965). 129 Jung shared this dream with E. A. Bennett January 4, 1957, who wrote the following about Jung’s dream: He was climbing up the hill above Kusnacht to the plateau where now the Niehuses have their house. But it took nearly all day and in fact the hill is hills on the opposite side of the Zurich Lake. A cascade of water was falling down the hill, and the sun lit it up with silver and gold. Away to the left, and higher up—he observed a big hotel (such as the Dolder Hotel), and he could see the cars parked there 128

404 TREASURE HUNTING

1914 April 19 – Jung encounters “Phanes” emerging from a lake (p. 329, n. 347). 1914 April 19 – Jung begins to write the source material for Scrutinies in Black Book 5 (p. 333, n. 1). 1914 April 20 – Jung berates his “I” (p. 333, n. 6). 1914 April 20 – Jung resigns as president of the International Psychoanalytical Association (Shamdasani, 2012, p. 74). 1914 April 21 – Jung distinguishes his I from his soul: “Fill your beaker with the bitter drink of subjugation, since you are not your soul. Your soul is with the fiery God who flamed up to the roof of the heavens” (p. 334, n. 7). 1914 April 30 – Jung resigns as lecturer in the medical faculty of the University of Zurich (Shamdasani, 2012, p. 74). 1914 May 8 – Jung (2009) hears the voice of his soul and she said: “How distant you are!” (p. 335, n. 10). 1914 May 21 – Jung explains to his I that it must be prepared to suffer (p. 335, n. 11). 1914 May 23 – Jung’s soul suggests that she was not intended to be in his world. She further insinuates that Jung has benefited from her departure to the upper realms (p. 335, n. 13). 1914 May 24 – Jung feels compelled to embrace solitude (p. 336, n. 15). 1914 May 25 – Philemon speaks to Jung for the first time (p. 336, n. 20).

looking very small. Jung told Bennett that at the time he could not understand the dream, however, but he would later note similarities between the dream and a scene depicted in Gerhard Dorn’s alchemical work, Speculativa Philosophia (Theatrum Chemicum, 1602). Jung found the same gold and silver motif in Dorn’s work, which intimated a special meaning. This dream seems to be the first time Jung’s unconscious foreshadowed his later exploration of alchemy.

405 TREASURE HUNTING 1914 June 24 – Jung feels a great burden that does not subside until this date. Jung mentions the term “unconscious” in Black Book 5, p. 82 (p. 336, n. 21). 1914 June 28 – Archduke Ferdinand assassinated (Shamdasani, 2012, p. 74) 1914 July 28 – Jung gives a talk titled “The importance of the unconscious in psychopathology” at a meeting of the British Medical Association in Aberdeen, England (p. 337, n. 22). 1914 August 1 – Germany declares war on Russia setting the stage for WWI. Jung’s fear of psychosis is alleviated (Jung, 1989/2012, p. 48). 1914 August 9 – Jung begins two-week period of military duty in Luzern, Switzerland (p. 337, n. 22). 1914 August 22 – Jung completes his military duty in Luzern, Switzerland (p. 337, n. 22). 1914 November – Jung closely studies Nietzsche’s Thus Spoke Zarathustra (Shamdasani, 2012, p. 77). 1915 – Jung begins to transcribe his typescript of the Black Books by hand onto parchment. This separate material would become Liber Primus (Shamdasani, 2012, p. 117). 1915 – Later in the same year Jung “commissioned a large folio volume of over six hundred pages, bound in red leather, from the bookbinders Emil Stierli. On the spine, the title Liber Novus was embossed” (Shamdasani, 2012, p. 117). 1915 January – Jung (2009) begins military service at Olten, Switzerland (p. 337, n. 22). 1915 March – Jung completes military service at Olten, Switzerland (p. 337, n. 22). 1915 March 10 thru 12 – Jung serves on the invalid transport (p. 337, n. 22).

406 TREASURE HUNTING 1915 June 3 – Jung watches an osprey descend to seize a large fish from the lake before ascending into the sky. Jung reported that after the strange occurrence his soul said to him: “That is a sign that what is below is borne upward” (p. 337, n. 22). This occurrence closely parallels what Jung would later call synchronicity. 14 September 1915 – Jung indicates that the voices of the depths remained silent for an entire year. After a lengthy hiatus, Jung begins to write again (p. 337, n. 24). 15 September 1915 – Philemon continues to speak to Jung (p. 337, n. 27). 17 September 1915 – Philemon abruptly departs and leaves Jung along with his thoughts (p. 337, n. 28). 18 September 1915 – Jung suggests that one should re-establish the connection with the self in a way that fulfills both inner and outer life (p. 338, n. 31). 1915 December 2 – Jung writes that three shades approached him, one of which is female (p. 339, n. 43). 1915 December 5 – Jung sinks into his solitude (p. 340, n. 47). 1915 December 7 – Jung alludes to his terrible son that lives beneath him, “under the trees on the water” (p. 340, n. 54). 1915 December 9 – Jung asks a female shade whether humanity should completely go to waste for divinity (p. 340, n. 55). 1915 December 20 – The female shade speaks unsparing words about the power of the God. Jung has to accept these words (p. 342, n. 50). 1915 December 25 – Jung reaches page 36 of the calligraphic volume of the Liber Novus (p. 277).

407 TREASURE HUNTING 1916 January 8 – After the shade disappears, Jung looks up to see his bird soul in the upper realms, “hovering irradiated by the distant brilliance that streamed from the Godhead” (p. 342, n. 61). 1916 January 10 – Philemon speaks to Jung (p. 342, n. 64). 1916 January 11 – Jung is frustrated with his soul who leaves him with a feeling of bitterness (p. 344, n. 66). 1916 January 13 – After Philemon ends his speech, Jung’s soul looks both saddened and pleased and prepares to depart and ascend again to the upper realms. Jung suspects that she is withholding something and speaks to her before she leaves (p. 344, n. 67). 1916 January 14 – Jung addresses his soul (p. 345, n. 70). 1916 January 16 – Jung sketches a preliminary version of his Systema Munditotius (System of All Worlds) in Black Book 5 (Shamdasani, 2009, p. 206; 2012, p. 123; 2009, p. 345, n. 72; p. 363).130 1916 January 18 – Jung’s soul returns to him and approaches him uneasily (p. 345, n. 73). 1916 January 29 – Jung remains anxious and confused for many days and his soul is not seen nor heard from (p. 346, n. 76). 1916 January 30 – Jung experiences a series of parapsychological events at his residence in Kusnacht.131 Jung begins to write “The Seven Sermons to the Dead” (Jung, 1961/1989, p. 190; 2009, p. 346, n. 77).

130

Jung added commentary to this preliminary sketch (Black Book 5, pp. 163-178; 2009, pp. 370-371, Appendix C). Jung (2009) equates the draft schema with the promised land, the land of milk and honey (p. 345). 131 The said date fell on a Sunday.

408 TREASURE HUNTING 1916 January 31 – “That night Philemon stood beside me and the dead drew near and lined the walls and cried out, ‘We want to know about God. Where is God? Is God dead?’ ” (p. 348, n. 90). 1916 February 1 – “ ‘The following night, the dead approached like fog from a swamp and exclaimed, “Tell us more about the highest God’ ” (p. 350, n. 97). 1916 February 3 – The following night, the dead came running sooner, filling the place with their mutterings, and said: “Speak to us about Gods and devils, accursed one” (Beginning of fourth sermon to the dead) (p. 351, n. 103). 1916 February 5 – Jung writes “Equality prevails not for the sake of God, but only for the sake of man. For the Gods are many, while men are few. The Gods are mighty and endure their manifoldness. Like the stars they abide in solitude, separated by vast distances. Therefore they dwell together and need communion, so that they may bear their separateness” (p. 351, n. 107). 1916 February 8 – “And Philemon stepped before me, and began to speak (and this is the seventh sermon to the dead)” (p. 354, n. 121). 1916 February 17 – Philemon speaks: “Mother, you who stand in the higher circle, nameless one, who shrouds me and him and protects me and him from the Gods: he wants to become your child” (p. 355, n. 127). 1916 February 21 – Jung experiences a fantasy of a turban-clad Turk, presumably a Muslim (p. 355, n. 131). 1916 February 24 – Jung asks the Turban-clad Turk: “Are you thinking of the descent in the frog swamp?” (p. 355, n. 133).

409 TREASURE HUNTING 1916 February 28 – Philemon says to Jung: You will hold the invisible realm in trembling hands; it lowers its roots into the gray darknesses and mysteries of the earth and sends up branches covered in leaves into the golden air (p. 355, n. 135). 1916 April 12 – Philemon addresses a blue shade that is later identified as Christ (p. 357, n. 138). 1916 May 3 – Jung encounters Elijah and Salome in a dream (p. 357, n. 145). 1916 May 31 – “One night my soul suddenly came to me, as if worried, and said ‘Listen to me: I am in a great torment, the son of the dark womb besieges me. Therefore your dreams are also difficult, since you feel the torment of the depths, the pain of your soul, and the suffering of the Gods’ ” (p. 358, n. 151). 1916 June 1 – Jung has fantasy where Philemon encounters Christ as a blue shade in Jung’s garden; end of Scrutinies (p. 359, n. 152). 1916 September 21 – Jung’s “I” went on to the dark ones and offered them blood so that they could tell him what they wanted from him, so that he could live his life (Shamdasani, 2012, p. 71). 1916 September 25 – Jung has dialogue with his soul that further elaborates and clarifies the cosmology of the Seven Sermons (p. 354, n. 125; Black Book 6, pp. 104-106). 1916 September 28 – Jung continues to speak with his soul who elaborates and clarifies Jung’s cosmological system (Jung, 2009, p. 354-355, n. 125; Black Book 6, p. 114-120). 1916 October – Jung gives two presentations to the Psychological Club concerning the relation of individuation to collective adaptation (p. 353, n. 117). 1916 December – Jung publishes “Structure of the Unconscious” (Brome, 1978, p. 172). 1917 (winter) – “Jung wrote a fresh manuscript called Scrutinies, which began where he

410 TREASURE HUNTING had left off” (Shamdasani, 2009, p. 307). Jung transcribed fantasies from April 2013 until June 1916. 1917 January 17 – Jung produces image 58. Jung suggests that he painted the image a day before randomly reading about the current formation of huge sunspots. Jung seems to have associated his dream with these actual sunspots on the sun: synchronicity. Jung also records a peculiar dream in his “Dreams” journal (2009, p. 285, n. 129). 1917 February 4 – Jung starts to work on the “Opening of the Egg” image 70 (p. 286, n. 132). 1917 February 15 – Jung reaches page 69 in the calligraphic text (p. 288, n. 139). 1917 February 20 – Jung addresses Phanes as the messenger of Abraxas (Jung, 2009, p. 301, n. 211; Black Book 6, p. 167). 1917 April 17 – Jung indicates an “intensive unconscious relation to India in the Red Book” (Shamdasani, 2012, p. 93). 1917 April 17 – Jung notes in his dream book: “since then, frequent exercises in the emptying of consciousness.” His procedure was clearly intentional—while its aim was to allow psychic contents to appear spontaneously. He recalled that beneath the threshold of consciousness, everything was animated. At times, it was as if he heard something. At other times, he realized that he was whispering to himself (Shamdasani, 2009, p. 200). 1917 April 25 – Atmavictu first appears in Black Book 6 (Jung, 2009, p. 303, n. 222). 1917 May 20 – Philemon says that he will become Phanes (Jung, 2009, p. 301, n. 211). (Black Book 6, p. 195); Philemon said: “As Atmavictu I committed the error and became human. My name was Izdubar? I approached him as just that. He paralyzed me. Yes, man paralyzed me and turned me into a dragon’s serpent. Fortunately, I recognized my error,

411 TREASURE HUNTING and the fire consumed the serpent. And thus Philemon came into being. My form is appearance. Previously, my appearance was form” (p. 305, n. 232; Black Book 6, p. 195). 1917 June 11 – Jung begins military service at Chateau d’Oex as commander of the English prisoners of war camp (Shamdasani, 2009, p. 206). 1917 August 2 – Jung sketches first mandala in a series in Black Book 6 (Appendix A). The picture is labeled “Phanes” (Shamdasani, 2009, p. 206; p. 361). 1917 August 4 – Jung sketches third mandala in a series in Black Book 6 (Appendix A) (Shamdasani, 2009, p. 361). 1917 August 6 – Jung sketches fourth mandala in a series in Black Book 6 (Appendix A) (Shamdasani, 2009, p. 361). 1917 August 8 – Jung completes third mandala in a series in Black Book 6; image will become basis for image 82 in calligraphic volume (Appendix A) (Shamdasani, 2009, p. 361). 1917 August 21 – Jung creates the image on page 84 (p. 325, n. 154). 1917 September 1 – Jung completes fifth mandala in a series in Black Book 6; image will become basis for image 89 in calligraphic volume (Appendix A) (Shamdasani, 2009, p. 362). 1917 September 10 – Jung completes a sixth mandala in a series in Black Book 7 (p. 11); image will become basis for image 93 in calligraphic volume (Appendix A) (Shamdasani, 2009, p. 362). 1917 September 11– Jung likely creates the image on page 94 (Shamdasani, 2009, p. 294, n. 157). Jung sketches seventh mandala in a series in Black Book 7 (pp. 13-14);

412 TREASURE HUNTING image will become basis for image 93 in calligraphic volume (Appendix A) (Shamdasani, 2009, p. 292, n. 256; p. 362).132 1917 October 2 – Jung ends military service at Chateau d’Oex (Shamdasani, 2009, p. 206). 1917 October 7 – A black magician called Ha appears and introduces himself as the father of Philemon. His secret was the runes, which he refused to teach to Jung’s soul. (Shamdasani, 2009, p. 294, n. 157; 2012, p. 71; Black Book 7 pp. 9-10). 1917 October 22 – Ka appears to Jung in a fantasy and introduces himself as the other side of Ha, Ha’s soul. Ka gave Ha the runes and the lower wisdom. Ka is Philemon’s shadow (2009, p. 306, n. 232; Black Book 7 p. 25). 1917 November 20 – Ka calls Philemon his shadow and his herald. Ka adds that he is eternal and remains, while Philemon is fleeting and passes on (2009, p. 306, n. 232; Black Book 7, p. 34). 1917 November 27 – Jung composes a portion of his Scrutinies manuscript (2009, p. 336, n. 17). 1917 December 24 – Jung paints a stand-alone active imagination that depicts the Cabiri scene described in pages 320-321 in The Red Book (Shamdasani, personal communication, March 26, 2014). 1918 January 17 – Jung writes a letter to J. B. Lang and quotes Faust (Shamdasani, 2009, p. 207, n. 145). 1918 February 10 – Ka says that he has built a temple as a prison and grave for the Gods (Black Book 7, p. 39; Jung, 2009, p. 306, n. 232).

On September 11, Philemon describes him as follows: “Phanes is the God who rises agleam from the waters” (Jung, 2009, p. 301, n. 211; Black Book 7, pp. 16-19). 132

413 TREASURE HUNTING 1918 March – Jung writes again to J. B. Lang and describes some of his fantasies (Shamdasani, 2009, p. 207, n. 147). 1918 June 3 – Jung’s soul describes Philemon as the joy of the earth: “The daimons become reconciled in the one who has found himself who is the source of all four streams, of the source-bearing earth. From his summit waters flow in all four directions. He is the sea that bears the sun; he is the mountain that carries the sun; he is the father of all four great streams; he is the cross that binds the four great daimons. He is the incorruptible seed of nothingness, which falls accidentally through space. This seed is the beginning, younger than all other beginnings, older than all endings” (Black Book 7, p. 61; Shamdasani, p. 305, n. 230). 1918 July 31 – Phanes says: “The mystery of the summer morning, the happy day; the completion of the moment, the fullness of the possible, born from suffering and joy; the treasure of eternal beauty; the goal of the four paths, the spring and the ocean of the four streams, the fulfillment of the four sufferings and of the four joys, father and mother of the Gods of the four winds, crucifixion, burial, resurrection, and man’s divine enhancement, highest effect and nonbeing, world and grain, eternity and instance, poverty and abundance, evolution, death and the rebirth of God, borne by eternally creative power, resplendent in eternal effect, loved by the two mothers and sisterly wives, ineffable pain-ridden bliss, unknowable, unrecognizable, a hair’s breadth between life and death, a river of worlds, canopying the heavens—I give you philanthropy; the opal jug of water; he pours water and wine and milk and blood, food for men and Gods” (Jung, 2009, p. 301, n. 211; Black Book 7, pp. 76-80).

414 TREASURE HUNTING 1918 August 2 – Jung further describes Phanes in Black Book 7 (Jung, 2009, p. 301, n. 211). 1918 November 21 – Jung wrote that “M. Moltzer has again disturbed me with letters” (Shamdasani, p. 206, n. 139). 1919 January 26 – Jung reaches page 103 in the calligraphic volume (p. 296, n. 179). 1919 February 29 – Jung writes letter to Joan Corrie in regards to the “Seven Sermons” (Shamdasani, p. 354, n. 123). 1919 March 22 – Jung has reached page 110 of the calligraphic volume (p. 299, n. 194). 1919 April – Jung finishes image 113 in the calligraphic volume (p. 301, n. 211). 1919 August – In “Dreams” Jung notes around eight dreams during this period, and a vision at night of two angels, a dark transparent mass, and a young woman. This suggests that the symbolic process continues in the paintings in the calligraphic volume, which do not appear to have direct cross-references to either the text in Liber Novus or the Black Books (Shamdasani, p. 305, n. 230). 1919 November – Jung appends a legend to one of his illustrations [Image 121] in Liber Novus (2009, p. 305, n. 229). 1919 December 4 – This date seems to refer to when the image [Image 122] was painted. “This is the back side of the gem. He who is in the stone has this shadow. This is Atmavictu, the old one, after he has withdrawn from the creation. He has returned to endless history, where he took his beginning. Once more he became stony residue, having completed his creation. In the form of Izdubar he has outgrown and delivered Philemon and Ka from him. Philemon gave the stone, Ka the Sun.” The final character appears to be the astrological symbol for the sun (2009, p. 305, n. 231).

415 TREASURE HUNTING 1920 – Jung purchases land on the upper shores of Lake Zurich in Bollingen. (Shamdasani, 2012, p. xiii; 2009, p. 216).133 Jung paints image 125 in the calligraphic volume (Wehr, 1989, p. 43). 1920 January 4 – Jung paints image 123 in the calligraphic volume of Liber Novus (2009, p. 306, n. 23).134 1920 February 23 – Jung makes the following entry: “What lies between appears in the book of dreams, but even more in the images of the red book” (Black Book 7, p. 88; 2009, p. 305, n. 230). 1920 (spring) – Jung travels to North Africa with Hermann Sigg (Hannah, 1976, p. 142). 1920 (summer) – Jung travels to England to give lecture at Cornwall (Wehr, 1987, p. 218). 1920 October 15 – “Jung discussed an unidentified picture with Constance Long, who was in analysis with him. Some of the comments she noted shed light on his understanding of the relation of Philemon and Ka” (Shamdasani, 2009, p. 306, n. 232). 1921 – Psychological Types is published. 1921 January 9 – Image 127 is completed. Jung writes that he started the image around March 1920 (p. 307, n. 240) (Shamdasani, 1989/2012, p. xiii). 1922 January 5 – Jung complains to his soul that he is tired. His soul will not let him sleep. Jung’s soul suggests that his calling is the new religion and its proclamation. Jung

The tower was a “representation of individuation. Over the years, he painted murals and made carvings on the walls. The tower may be regarded as a three-dimensional continuation of Liber Novus: a ‘Liber Quartus’ ” (Shamdasani, 2009, p. 216). 134 Inscription: “IV Jan MCMXX [1920] This is the caster of holy water. The Cabiri grow out of the flowers, which spring from the body of the dragon. Above is the temple.” 133

416 TREASURE HUNTING is startled by soul’s statement as he has no idea how to carry out such a task (2009, p. 211). 1922 January 27 – In Black Book 7 (p. 57), Jung’s soul refers to images 109 and 111 in the Black Books (2009, p. 299, n. 201). 1922 September – Jung has a dream about his father that presaged the death of his mother (Jung, 1961/1989, p. 315). 1922 September 14 – Jung reaches page 114 in the calligraphic volume (pp. 301-302, n. 212). 1922 November 25 – Jung, Emma, and Toni Wolf leave the Psychological Club (Shamdasani, 1989/2012, p. xiv). 1922 November 29 – Jung completes page 134 of The Red Book (p. 308, n. 247). 1922 November 25 – Jung completes Image 135 (Tree of Life) (p. 309, n. 248). 1923 January 9 – Jung’s mother dies (Shamdasani, 2009, p. 216). 1923 March – Jung starts construction of first tower (1961/1989, p. 225). 1923 June – Psychological Types in published in English (Shamdasani, 1989/1912, p. xi, n. 8). 1923 July 14-27 – Jung gives his seminar series in Polzeath, England (Hannah, 1976, p. 209; Shamdasani, 2009, p. 211, n. 176; 1989/2012, p. xiv). 1923 December 24 – Jung has a dream that symbolizes his mother (Shamdasani, 2009, p. 216). 1923-24 (winter) – First tower at Bollingen is finished (1961/1989, p. 228). 1924 January – Jung makes marginal note in the calligraphic volume on page 142 (p. 314, n. 269).

417 TREASURE HUNTING 1924 November 1 – Jung gives part one of a three-part lecture on the psychology of dreams (Shamdasani, 1989/2012, p. xv). 1924 December 8 – Jung gives part two of a three-part lecture on the psychology of dreams (Shamdasani, 1989/2012, p. xv). 1925 February 21 – Jung gives part three of a three-part lecture on the psychology of dreams (Shamdasani, 1989/2012, p. xv). 1925 May 23 – Jung gives a discussion on the psychology of dreams (Shamdasani, 1989/2012, p. xv). 1925 August 14 – Jung makes a marginal note of the date on p. 156 in his calligraphic volume, which indicates the date of transcription (Shamdasani, p. 317, n. 290; 2012, p. xiii). 1925 October 15 – Jung departs for Africa (p. 317, n. 290). 1926 – Heinrich Zimmer publishes Kunstform und Yoga im Indischen Kultbild (Jung, 1984, p. 580, n. 8). 1926 – Jung has a dream anticipating his eventual encounter with Alchemy (Staude, 1981, p. 202).135 1926 March 14 – Jung returns from Africa (p. 317, n. 290). 1927 – The Tibetan Book of the Dead is published.

“The crucial dream anticipating his encounter with alchemy came around 1926. He was in the South Tyrol during the First World War. Driving back from the Front with a peasant in a horse-drawn wagon, he saw before him a manor house. They drove in through a gate. As they reached the middle of the courtyard the gates flew shut. The peasant leapt down from his seat and exclaimed ‘Now we are caught in the seventeenth century.’ Jung felt very frustrated. Then the thought came to him: ‘Someday, years from now I shall get out again’. It was several years later that Jung concluded that the dream was a message from the unconscious indicating his future interest in alchemy, which reached its height in the seventeenth century” (Staude, 1981, pp. 64-65). 135

418 TREASURE HUNTING 1927 January 2 – Jung has his famous Liverpool dream (1961/1989, p. 197; 2009, p. 159, p. 217, p. 318). 1927 January 9 – Herman Sigg dies. Jung writes this in a marginal note on page 159 (Liverpool Dream) (p. 318, n. 296), (Hannah, 1976, p. 184). 1927 January 9 – Jung paints Liverpool dream (1961/1989, p. 197; 2009, p. 121, p. 159). 1927 – Jung adds central structure with a tower-like annex (1961/1989, p. 224). 1928 – Jung creates painting of a yellow castle (Jung, 2009, p. 163). 1928 – Jung receives Golden Flower manuscript from Richard Wilhelm (1961/1989. p. 197, p. 204). 1928 – Jung writes The Relations Between the Ego and the Unconscious (Hannah, 1976, p. 223). 1928 October – Jung’s female patient (i.e., Miss X, Kristine Mann) paints images 1-6 that were included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1928 November – Jung’s female patient (i.e., Miss X, Kristine Mann) paints images 7 and 9 that were included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1928 November 28 – Jung makes first oblique reference to synchronicity, calls it synchronism (Jung, 1984, p. 44). 1929 (autumn) – Jung writes commentary for Wilhelm’s The Secret of the Golden Flower publishing three of his paintings from Liber Novus (Shamdasani, 2012, p. xxii), image 105 (Mandala), image 159 (Liverpool dream), image 163 (yellow castle painting) (1931, p. vii).

419 TREASURE HUNTING 1929 January – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 10 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 January 23 – Jung resumes his English Seminars (Hannah, 1976, p. 192). 1929 February – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 11 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 February – Richard Wilhelm gives a lecture—his final one—at the Psychological Club in Zurich (Hannah, 1976, p. 197). 1929 June – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 12 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 August – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 13 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 September – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 14 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 October – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 15 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 October 28 – Jung writes to Wilhelm regarding the inclusion of his own mandalas in his commentary for The Secret of the Golden Flower (Letters: Vol. II, 1976, p. 71).

420 TREASURE HUNTING 1929 November – Jung’s female patient (i.e., Miss X, Kristine Mann) paints images 16 and 17 that were included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1929 December 4 – Jung introduces term synchronicity in his Dream Seminars (Jung, 1984, p. 417). 1930 – Jung abruptly breaks off transcription of his Black Books to Liber Novus (i.e., The Red Book) (Shamdasani, 2012, p. xiii). 1930 – Jung likely starts the illustration on page 169 of the calligraphic version of Liber Novus (Shamdasani, personal communication, March 26, 2014). 1930 February – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 18 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1930 February – The Psychological Club gives its first large Carnival Ball (Hannah, 1976, p. 196). 1930 February 5 – Jung discusses yantras and Borobudur in a dream analysis lecture (1984, p. 462). 1930 February 26 – Jung alludes to Heinrich Zimmer in his Dream Analysis seminar mentioning him only as a “German scholar” (Jung, 1984, p. 492). 1930 March 1 – Richard Wilhelm dies (Jung, CW15, Appendix, footnote 1; Wehr, 1989, p. 154). 1930 May 7 – Jung indicates that he read Kunstform und Yoga im Indischen Kultbild, which likely occurred in early 1930 or late 1929; references Zimmer only as a German (Jung, 1984, p. 580)

421 TREASURE HUNTING 1930 May 30 – Jung gives memorial speech for Wilhelm, mentions Synchronicity (CW15, Appendix, footnote 1; Coward, 1985, p. 29). 1930 August – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 19 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1930 October 11 – Jung (1996) gives his lecture on “Indian Parallels” in German (p. 71) (Shamdasani, 1996, p. xxxviii). 1930 (autumn) – Jung begins Visions Seminars on a weekly basis (Hannah, p. ix, 1997). 1931 – Jung meets Wolfgang Pauli for the first time (Gieser, 2006, p. 142). 1931 March – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 20 that was included in the collection published in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1931 March – English edition of The Secret of the Golden Flower is published (Baynes, 1931, p. ix).136 1931 June 13 – Jacob Wilhelm Hauer, a German Indologist, gives his first lecture on yoga at the Psychological Club in Zurich (Shamdasani, 1996, p. xxxv). 1931 October 7 – Jung gives another German lecture on “Indian Parallels” (Shamdasani, 1996, p. xxxviii). 1932 – Jung’s work on his Black Books tails off and transitions into his extensive survey of alchemy (Shamdasani, 2012, p. 170). 1932 February – Wolfgang Pauli begins analysis with one of Jung’s pupils, Dr. Erna Rosenbaum (Gieser, 2005, p. 143).

136

See p. 355, n. 1 (CW9i).

422 TREASURE HUNTING 1932 May – Jung meets Heinrich Zimmer (Zimmer, 1926/1984, p. 259; LaVallee, 2011, p. 29). 1932 June 12 – Zimmer gives lecture titled “Some Aspects of Yoga” in Zurich (Shamdasani, 1996, p. xxxiii). 1932 July 8 – Zimmer writes to Jung and cites a lengthy quotation from an essay by Arthur Avalon (LaVallee, 2011, p. 33). 1932 July 18 – Jung responds to Zimmer’s letter thanking him for the article by Arthur Avalon (LaVallee, 2011, p. 34). 1932 October 5 – Jung comments on Hauer’s German lecture (1996, p. 79). 1932 October 12 – First lecture, Kundalini Seminar in Zurich (Jung, 1996, p. 3) 1932 October 19 – Second lecture, Kundalini Seminar in Zurich (Jung, 1996, p. 23) 1932 October 26 – Third lecture, Kundalini Seminar in Zurich (Jung, 1996, p. 42) 1932 November 2 – Fourth lecture, Kundalini Seminar in Zurich (Jung, 1996, p. 60) 1932 November 4 – Jung begins correspondence with Wolfgang Pauli and subsequently analyzes his dreams (2001, p. 3). 1933 June 21 – Jung accepts the presidency of the International Medical Society for Psychotherapy (Jung, 1977, p. 59). 1933 June 26 - July 1 – Jung attends the Berlin Seminar (Sorge, 2013, p. 81). 1933 July – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 21 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172).

423 TREASURE HUNTING 1933 August – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 22 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1934 (spring) – Jung completes his Visions Seminar. According to Hannah, it ended during the winter term of 1934 (1976, p. 191). 1934 May – Jung begins his English seminar on Nietzsche’s Zarathustra (Hannah, 1976, p. 227). 1935 – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 23 that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1935 – Jung embarks on an activity he called “treasure hunting” (Bishop, 2014, p. 20; Shamdasani, 2012, p. 170). 1935 May 30 – Jung’s sister Johanna Gertrud “Trudi” Jung dies (Bair, 2003, p. 409; Hannah, 1976, p. 205; Andreas Jung, personal communication, October 26, 2015). 1935 June – Jung dreams of his deceased sister (Bennet, 1985, p. 98). 1935 September 30 - October 4 – Jung gives Tavistock Lectures in London. 1937 September 28 – Jung closely observes Mussolini and Hitler for about 40 minutes at a parade in Berlin (Ellenberger, 1970/1981, p. 676). 1937 December 17 – Jung arrives at India (Bombay) (Sengupta, 2013, p. xix). 1938 January 3 – Jung falls ill in Calcutta and is hospitalized for six days. 1938 January 7 – Jung receives honorary doctorate in Calcutta (McLynn, 1996, p. 401). 1938 February 2 – Jung begins his journey home by ship (Sengupta, 2013, p. xix).

424 TREASURE HUNTING 1938 May – Jung’s female patient (i.e., Miss X, Kristine Mann) paints image 24 (“NightBlooming”) that was included in the collection found in “A Study in the Process of Individuation” (1950/1968a, CW9i, p. 348, n. 172). 1938 December – Jung writes letter regarding U. S. President Abraham Lincoln. 1939 May 15 – Jung is elected an Honorary Fellow at the Royal Society in London (Ellenberger, 1970/1981, p. 676). 1939 September 23 – Sigmund Freud dies in London (McLynn, 1996, p. 419). 1943 March 20 – Heinrich Zimmer dies in America (Sorge, 2013, p. 82). 1943 September 9 – Peter Baynes dies in England (Hannah, 1976, p. 276). 1943 October 15 – Jung is granted the title Professor of Medical Psychology with special regard to psychotherapy, by the University of Basel (Ellenberger, 1970/1981, p. 676). 1944 February 11 – Jung has a near death experience (Hannah, 1976, p. 276). 1945 November – Kristine Mann commits suicide (McLynn, 1996, p. 463). 1946 – Jung has a dream that alludes to both his father and mother. The dream suggested the post-life activities of his parents. His father had apparently assumed the role of an ichthyologist137 and his mother a guardian of departed spirits138 (1961/1989, pp. 213214). 1947 December 19 – Jung has a dream where Philemon invites him to share his bed in a military barracks (1973, p. 481).139

“It is remarkable that the study of fish was attributed to my father. In the dream he was a caretaker of the Christian souls, for, according to the ancient view, these are fish caught in Peter’s net” (1961/1989, p. 214). 138 “It is equally remarkable that in the same dream my mother was a guardian of departed spirits. Thus both my parents appeared burdened with the problem of the “cure of souls,” which in fact was really my task” (1961/1989, p. 214). 139 In a follow up letter to Victor White dated January 30, 1948, Jung (1973) wrote in regards to the same dream: “You see, something has taken me out of Europe and the Occident and has opened for me the gates of the East as well, so that I should understand something of the human mind” (p. 491). 137

425 TREASURE HUNTING 1947 December ?140 – Jung dreams about his father who in the afterlife has become the custodian of a holy place141 and a distinguished scholar (1973, p. 491; 1961/1989, pp. 217-220). 1951 – Aion is published. 1952 – Answer to Job is published. 1953 November – Jung presented with Jung codex in Zurich (Ellenberger, 1970, p. 679). 1955 November 27 – Emma Jung dies in Zurich (Ellenberger, 1970/1981, p. 679). 1958 October – Jung has a dream of two UFOs (1961/1989, p. 323). 1961 June 6 – Jung dies at 3:45 P.M. (Hannah, 1976, p. 348).

140

Jung does not specify an exact date for this dream, but indicates that it happened not long after the dream he described to White in a letter dated December 19, 1947. “Soon after this particular dream, I had another one continuing a subject alluded to in the former dream, viz. the figure of the priest of the head of the library. His carriage and the fact that he unexpectedly had a short beard reminded me of my father (p. 491). Jung (1961/1989) provides additional details in Memories, Dreams, Reflections (pp. 217-220). 141 The holy place was a replica of divan-i-kaas (Hall of Private Audiences), which is an actual historical and religious site in India.