The peculiar triadic relationship of Christ with two Lazarus' sisters in The Last Temptation of Christ directed by Martin Scorsese provoked the question of its archetypal foundation.
The peculiar triadic relationship of Christ with two Lazarus' sisters in The Last Temptation of Christ directed by Martin Scorsese provoked the question of its archetypal foundation. Therefore the subject of this assay is not the marriage quaternio, which Jung gave due respect, but the triadic relationship in its symmetrical and asymmetrical arrangement, on whose archetypal foundation points no smaller then Martin Luther himself, which strange 'confessional counsel,' only explainable with the constellated archetype, jeopardized not only his name, but also the whole Reformation. Yet Luther was unconscious, or happy, enough not to realize the archetype in himself, but through Landgrave Philip of Hesse, in accordance with the time, in a concrete and rather unconscious form. Jung, living four century later in the time when the individuation became a crucial problem, seems to be destined to consciously actualize the archetype on himself in the form of his lasting relationship with two women, his wife Emma Jung and younger Antonia Wolff, for whose archetypal foundation speaks Jung himself saying that 'he would go mad without both women in his life' (Rosen 1996, p. 71).Archetypally this triadic relationship can be also connected with the mythologem of the individuation process which includes the deepest aspects of the psyche, causing the repetition of the opus, and also the 'duality' of the two layers of the collective unconscious, symbolized in the Servant Songs with Israel and the Gentiles, which together with the Servant form the triadic structure. Interestingly enough this division of the collective unconscious, if peculiarly transformed, was also present in Jung's individuation process, visible most clearly in his mandala from the Twenties, with its unconsciously structured central part symbolizing the transpersonal Self, and its peripheral part representing the personal Self with four psychological functions in conscious arrangement. This peculiar structure can explain the uniqueness of Jung's individuation process, and also a 'necessity' of his triadic relationship, which as constantly present outside factor was strong enough to hold not so small tensions in Jung's psyche. With it can be connected also the feats of rage, which therefore in his old days seems to be even more present.
All these make still more amazing the fact that the mythologem of the individuation process, which includes the deepest levels of the psyche into the conscious transformation, was already present in Isaiah, and than later strangely developed in Revelation, while today it seems to be a basic structure in the many-faceted opus of Bob Dylan - for which reason are all, besides the other parallels not mentioned here, included in the analysis.
Heiko Oberman, the distinguished historian of the Reformation, in his excellent book Luther: Man between God and the Devil - which brought him 1985 the Historischer Sachbuchpreis for the German edition, an award given for the single most outstanding publication of the decade 1975-85 -gives us an interesting and honest presentation of the analyzed triadic structure, as well as of Luther himself, the man torn not only between God and the Devil, but also between many others polarities caused by the archetypal forces particularly active in those times, which is maybe the only exceptable explanation for the strange Luther action:
Luther's counsel as father confessor to Landgrave Philip of Hesse on December 10, 1539, could not so easily be condoned. Philip was one of the most forceful princely supporters of the Reformation. And it was he, of all people, who - with Luther's approval - made himself guilty of the crime of bigamy! The scandal arising from the landgrave's bigamous marriage had far-reaching political consequences. The strongman of the protective alliance of the Protestant estates of the empire, the Schmalkaldic League, was at the emperor's mercy. According to the imperial law promulgated by Charles V in the rules of the criminal court in Regensburg in 1532, bigamy could result in the death sentence. To avoid punishment Philip thus had to come to an arrangement with Charles V and conclude a separate peace in 1941: he was to halt all attempts to strengthen the Schmalkaldic League and desist from all activities against the emperor. (Oberman 1993, p. 284)
Landgrave Philip of Hesse was not the only person, to stay on the individual aspect, which was compromised with Luther's decision:
Luther's reputation suffered lasting damage as well. Even today the fact that he advised Philip to enter into a bigamous union is - in good ecumenical harmony -interpreted by Protestants as 'the greatest blot on the history of the Reformation' and by Catholics as the act of a devious scoundrel. (Ibid.)
Philip of Hesse considered taking a second wife already in 1526:
Had not the patriarchs of the Old Testament had more than one wife? When he sought Luther's advise on the matter in the autumn of 1526 ..., he received a disappointing reply: no one, and above all no Christian, should have more than one wife. The example of the patriarchs of the Old Testament proved nothing, for what God had permitted them as an emergency measure in a polygamous world did not automatically apply 'to me.' Not only would an additional marriage cause a scandal, it could not be vindicated by the Word of God either. (Ibid., p. 286)
Only the 'great need' could overrule the 'no' of the Word of God.
Since we here have a rare opportunity to see a constellation of the archetype into a fixed structure of the medieval society, if confined to its higher classes, I will stay by Luther a little longer. The earlier Luther's position seems to be his permanent view, with a divorce far more unacceptable then a polygamous second marriage:
When Henry VIII, who had since 1509 been married to Catherine of Aragon, the emperor's aunt, procured expert opinions in Germany and Switzerland in 1531 in support of his plans to marry Anne Boleyn, Luther once again indicated that marriage was sacred: 'Before I should approve of such a repudiation, I would rather let him marry a second queen.' (Ibid.)
Yet Luther made a concession in the conclusion: 'Even if there should be a divorce, Catherine will remain queen of England - and she will have been wronged before God and man.' Luther also recognized certain grounds for divorce:
If faith had been broken and a partner deserted, the union for life had been destroyed. The 'innocent partner' should not be kept from remarrying. But the one who had disrupted the marriage was pulled up short: 'No, my friend: if you are bound to a woman, you are no longer a free man, God forces and commands you to stay with wife and child, to feed and rear them.' (Ibid.)
For the archetypal ground of Luther's 'confessional advice,' whose social and personal consequences he must be aware of, especially speaks the possibility of a similar arrangement, but much less dangerous, because socially sanctioned and practiced in high social classes in those days. This is the solution which Elisabeth (1537), the widow of Duke John the Younger of Saxony, gave to her brother Philip of Hesse in the form of the 'frank advise':
When her brother revealed his predicament to her, she suggested that he 'take one bedmate instead of the many whores.' Elizabeth knew what she was talking about. The unmarried Elector Frederick the Wise, her father-in-law George's cousin, has his 'bedmate' Ann Weller and, though discreet, made no secret of their relationship. Shortly before his death he wrote his two sons by the union into his will, leaving them Castle Jassen and an annual pension of one thousand gulden. (Ibid.)
This praxis also occupied interest of Luther and his circle: 'The "great men" were discussed candidly at Luther's table: "The secret marriage of princes and great men is a genuine marriage for God, although it is conducted without pomp and splendor"' (ibid., p. 286f.).
Oberman summarized the situation:
Elizabeth was familiar with these circles when she tried to reason with her brother. But Philip did not follow her advise. Not surprisingly, the opinions as to his reasons diverge. He decided, it is said, 'rather to marry for reason of conscience.' Or: it was pure sensuality that drove him, his moral dilemma was only feigned, for 'he was not religious. He had now been following the new teaching for fifteen years.' (Ibid., p. 287)
About the decision Luther had to make, Oberman says: 'The Strasbourg reformer Martin Bucer had assured Luther that the landgrave had already been avoiding the Lord's Supper for years because of his moral dilemma, as Philip himself related, since "the peasants' feud," meaning for nearly fifteen years. It looked as if only an additional marriage could keep him from further excesses' (ibid.).
So in the symbolical context the situation of the young landgrave can be compared with the 'ten thousand things in living colors' appearing in the end-stage of the meditative practice and alchemy, representing, in Jung words, the alluring and deceptive attraction of the world. The East does not take it so literally using also the more humble variant, the one thousand things, and, paradoxically, if in a meditative setting, also twenty five old sages. But concerning the young landgrave, it seems that the constellated archetypal structure brought the whole spectrum on the public scene, putting aside a dyadic medieval solution fixed into unity, the state which also associates on the modern reversal in the quantum physics, to stay on this parallel. Thus even the classical first marriage of the young landgrave was from the very beginning colored with modern colors:
Before Philip was nineteen (1523), he had wed Christina, daughter of Duke George of Saxony (1539). Relation between George, Luther's bitterest foe among the princes, and his cousins in Electoral Saxony had always been strained; through Philip's marriage to his daughter, he was allied with the militant Protestant prince. This was the political side of the marriage, but the decisive reasons for the couple's estrangement were personal. Soon, after 'not more than three weeks,' Christina no longer appealed to the young landgrave. Later he complained about her unfriendliness, her 'smell,' and her alcohol consumption. (Ibid., p. 284)
Yet, in accordance with the constellated archetype, the situation seems to be more complex, as visible from Oberman's conclusion: 'But she cannot have been quite as repulsive as Philip made her out to be since the couple did, after all, have ten children, the last three of them after March 4, 1540, the date Philip married his second wife, Margarethe von der Sale' (ibid.). Luther's 'confessional counsel' of December 10, 1539, 'which will forever link his name with Philip's bigamy,' is no less paradoxical, even if we take into account its irony, ending 'with a remarkable statement, one that seems incomprehensible today: the public will regard Margarethe as one of the prince's "not unusual" concubines, so the scandal and talk will remain within limits' (ibid.).
It is interesting how the modern Christian scholar sees Luther's solution given to the landgrave, which is the same as his counsel to the English king: 'divorce was out of the question; in case of emergency, the only alternative was a second marriage':
Not concubine but a second wife: that could have put an end to the whole affair. From a modern vantage point the solution was not a milestone, but it was no scandal either. Luther's stubborn insistence on the inseparable nature of the first marriage is particularly striking in light of our - from the perspective of other cultures, hypocritical - acceptance of successive marriages while indignantly condemning simultaneous 'polygamy.' Then should the pastoral counsel given to Philip be extended to others as well? Absolutely not, said Luther; that is precisely why he insisted that his as hoc advice was to be confidential: that is not create a legal and moral precedent, 'let it remain secret.' As history shows, Luther's insistence on silence was in vain. (Ibid., p. 287)
Oberman estimates Luther's 'confessional counsel' from perspective of the genuine Christian Love:
A proper assessment of the matter cannot consist in a Protestant defense of Luther by putting the blame on the medieval tradition of dispensation for concubinage, or in a claim of deception by Bucer, or in a condemnation of the mendacity of the depraved, syphilitic Landgave.
Wherever blame is placed, the fact remains that Luther came to a decision which, contrary to his own opinion, is genuinely exemplary. There is Christian counsel which burst the seams of moral convention, whether unwritten or codified in law. Luther himself insists that the Gospel teaches of a higher law, the Law of Love - however dangerous in practice - which is to be directed to the unique needs of the 'neighbor,' who may well encounter dilemmas which no law can foresee. (Ibid., p. 287f.)
This 'higher law, the Law of Love' bring us into the realm of Eros, but in its genuine meaning, returning of which still waits its time. Bergen Evans in his Dictionary of Mythology describes this transformation of Eros, which is also comparable with Gnostic conception of the fall of Wisdom, or even Anthropos, into Matter. Eros is:
The god of love. In early Greek mythology he is child of Chaos, antedating the Olympian gods. In late legends he is the son of Aphrodite - by various fathers: Zeus, Ares, or Hermes - the builder of cities, the establisher of friendships, etc. The later saw him more exclusively as the god of sensual desire and, as such, cruel and imperious. The Romans saw him almost entirely in this role, a winged child with a bow from which he shot the arrows of desire. Their name for him was Cupid and their concept has almost entirely replaced the older one in the modern mind. (Evans 1970, p. 86)
Eros principle, which so inundated Luther's 'love and freedom of Christian man' that it even found its place in his coat of arms, is, together with a peculiar expression of the triadic archetype, particularly present in his letter:
In December 1925 he wrote to his friend Spalatin to say that he would unfortunately not be able to attend his friend's wedding. But Spalatin should not let himself be misled by the hidebound priest of the old faith in Altenburg because marriage was a gift of God. This was followed by an erotic passage, the second part of which was stricken from editions of Luther's letters very early on: 'When you sleep with your Catherine and embrace her, you should think: "This child of man, this wonderful creature of God has been given to me by my Christ. May He be praised and glorified." On the evening of the day on which, according to my calculations, you will receive this, I shall make love to my Catherine while you make love to yours, and thus we will be united in love.' (Oberman 1993, p. 276)
The tendency to make him 'respectable', Oberman concludes, 'explains why one of Luther's most revealing and engaging letters bas been all but suppressed' (ibid.). Thus Jung's observation that the real god of our days is Respectability, is not confined only to our times. Likewise Jung's position toward divorce, though maybe from different reasons, is similar to Luther's, as can be seen from Brome's conclusion: 'As his relationship with Tony Wolff developed, Emma obviously found the situation increasingly difficult but Jung was always against divorce. As he said to Freud: 'I am supposed to analyse Pfister's wife! I shall resist as long and as fiercely as I possibly can. These days I'm getting practically nothing but divorce cases. To hell with them!' Brome 1978, p. 132.) In fact it is amazing how many similarities can be found between these two men divided with no less then four century. Thus Jung in his Memories, Dreams, Reflections, chapter 'Late Thoughts,' says:
Eros is a kosmogonos, a creator and father-mother of all higher consciousness. I sometimes feel that Paul's words -'Though I speak with the tongues of man and of angels, and have not love' - might well be the first condition of all cognition and the quintessence of divinity itself. Whatever the learned interpretation may be of the sentence 'God is love,' the words affirm the complexio oppositorum of the Godhead. In my medical experience as well as in my own live I have again and again been faced with the mystery of love, and have never been able to explain what it is.... No language is adequate to this paradox. Whatever one can say, no words express the whole. To speak of partial aspect is always to much or too little, for only whole is meaningful. Love 'bears all things' and 'endures all things' (I Cor. 13:7). These words say all there is to be said; nothing can be added to them. For we are in the deepest sense the victims and the instruments of cosmogonic 'love.' (Jung 1963, p. 387)
With this quotation of Jung we will left Luther's case, which archetypal structure is overlaid with social and theological elements, and divided from us with more than four century, and turn toward Jung's triadic arrangement, which despite been asymmetrical, can give us better example. Jung's earlier quoted 'confession' that 'he would go mad without both women in his life' suggests that his lasting relationship with two women, his wife Emma Jung and Antonia Wolff, was archetypally structured, and therefore so essential for him. So it seems that this deep and complex relationship can be much better explained with the archetypal structure then with the too reductive explanation of David Rosen, which seems to be also in contradiction with Jung's personality, even in the beginning of his triadic relationship. Rosen concludes:
Jung blindly projected the love of the feminine aspect of the psyche (his blind Salome figure) onto Toni Wolff. Jung's concept of the anima (the feminine part of a man's psyche) was discovered through this 'acting out' behaviour and all three - Jung, Toni, and Jung's wife, Emma -contained and eventually accepted this neurotic triangle. This is not to take away from the intense jealousy and suffering that must have been experienced by these two women. The Jung children also must have found it to be a confusing and difficult situation. In addition, it was troubling predicament for Jung, but he felt he would go mad without both woman in his life. (Ibid., p. 70f.)
Still we must agree with Rosen to some degree, because Jung through this relationship came to terms with the deeper layers of his psyche, especially its feminine part which he later called anima. So, ironically, despite the strong presence of the archetype of the old vise man from his early days - visible, for example, in his nickname 'Father Abraham' which he acquired already in the elementary school - and the fact that in his inner world, though with a 'help' of the black snake, he made his blind anima to see - in the real world he needed a help not of the one, but of the two women. Thus beside a mirroring, the conscious crystallization experienced a peculiar twist into a triadic extension with the appearance of young Antonia Wolff, presented in the excellent book of Vincent Brome Jung: Man and Myth:
Some time during the years 1911-12 their relationship slowly escaped its professional restraints, and produced complicated repercussions on Jung's family life. As early as January 1910 he was writing to Freud, 'This time it was not I who was plagued by the devil but my wife who lent an ear to the evil spirit and staged a number of jealous scenes, groundlessly.' (My italics.) If these words applied to Toni Wolff that would seem to indicate that the affair, in the full sense of the word, had not yet begun. Moreover, we know that at this time his wife was pregnant again, 'by design and after mature reflection.' Nonetheless, this phrase occurred in the same letter to Freud: 'Analysis of one's spouse is one of the more difficult things unless mutual freedom of movement is assured.' Then followed the remark we have already encountered: 'The pre-requisite for a good marriage it seems to me is the license to be unfaithful.' (Brome 1978, p. 130)
But the last statement of Jung's rich and complex character can be misleading, since beside this side, Jung, like Luther, also had a strong sense of responsibility and morality, as described by Miss Allenby:
At bottom Jung was ... a passionate moralist. His morality is different from that in which most of us have been brought up: it is at the same time more permissive and more exacting. It is above all a morality deeply rooted in faith - faith in the value of the individual and faith in the creative potentiality of the unconscious. (Ibid., p. 16)
This part seems to be particularly important in his triadic relationship, notwithstanding its asymmetrical arrangement and enviable social frame, as well as an another no lesser advantage. I mean the fact that in the individuation process of its participants were not included the deepest parts of the psyche, at least not in the conscious integration, which can be concluded from Jung's 'confession' given on a seminar. When asked, is there any deeper layer of the psyche which is not included in his theory, Jung answered very drastically. He gave a rather colorful illustration beginning with the individuation process as present in his model of the psyche, saying that if Kant were confronted with the integration of the archaic function and started to philosophize like a 'cook,' he would hang himself right away. But this seems to be a child's play in comparison with the integration of the archaic part not included in his model, which caused Jung to say that he himself would accept even the incest with his own mother and the killing his own father, but in any way wouldn't accept the problem of the integration of this archaic part. Fortunately, he continued, in reality it did not appear as a problem, so he did not include it in his model of the psyche. But, of course, to say this he must be conscious of that problem, which seems to be especially actualized in his last years. This raises a question, is the basic archetypal structure of the triadic relationship symmetrical as in Luther's case - which than, though obscured with social and theological elements, would be closer to its original archetype - or is the mythologem asymmetrical, especially in its conscious form. In that case the asymmetry in Jung's arrangement would not be a deviation from the archetypal structure explainable with his conformism and bourgeois morality, or at least with the time and energy having at his disposal, but resulting from the difference between masculine and feminine psyche. Thus in difference to the anima, a man's soul-image with the nature of Eros or love, personified in a single figure - the animus, the woman's soul-image with nature of Logos or reason, appears as a plurality of persons. About their differences Jung says: 'A passionate exclusiveness therefore attaches to the man's anima, and an indefinite variety to the woman's animus. Whereas the man has, floating before him, in clear outlines, the alluring form of a Circe or a Calypso, the animus is better expressed as a bevy of Flying Dutchmen or unknown wanderers from over the sea, never quite clearly grasped, protean, given to persistent and violent motion' (Jung 1928, para. 338). But different masculine and feminine unconscious psyche is compensated with different conscious attitude:
With regard to the plurality of animus as distinguished from what might be call the 'uni-personality' of the anima, this remarkable fact seems to me to be a correlate of the conscious attitude. The conscious attitude of woman is in general far more exclusively personal than that of man. Her world is made up of fathers and mothers, brothers and sisters, husbands and children. The rest of the world consist likewise of families, who nod to each other but are, in the main, interested essentially in themselves. The man's world is the nation, the state, business concerns, etc. His family is simply a means to an and, one of the foundations of the state, and his wife is not necessarily the woman for him (at any rate not as the woman means it when she says 'my man'). The general means more to him then the personal; his world consist of a multitude of co-ordinated factors, while her world, outside her husband, terminates in a sort of cosmic mist. (Ibid.)
These differences grounded archetypally can be one of the reasons for the existence of our triadic arrangement, which, also archetypally founded, would be a factor strong enough to transform the 'exclusively personal' orientation of female world, as well as that of 'a multitude of co-ordinated factors' of the male toward more symmetrical state. And, still more importantly, we can suppose that the tension present in the triadic relationship would be also strong enough to activate the deepest layers of the psyche, requiring their integration in the individuation process, if only in the unconscious arrangement, or, at least, prepare the ground for it. This last option seems to be present in Jung's case, visible from his own experience in his last year, when in the age of eighty-five, he wrote: 'The older I become, the less I have understood or had insight into or known about myself,' which provoked Brome's comment: 'For a man who had spent most of his life investigating his psyche, it was tantamount to an admission of failure' (Brome 1978, p. 271). So it seems that Jung, like his wife Emma, was heading toward further development, therefore the 'Karma' of which he spoke can be also extended into the future:
I suppose it is posible a kind of Karma has been acquired by me from the long line of my ancestors' lives. It might take the form of an impersonal archetype which has taken a particular grip on me... It might - cristallise centuries of the development of the triad.... Put another way, if I had another incarnation in another century - I might have found problems to which there was then no answer. I had to be born again because now there are some answers to these problems. (Ibid.)
That Jung was confronted with the deeper layers of his psyche, which integration requires a complete restructuring of the psyche as well as the extension of his theory, can be also concluded from a recollection of Dr. Michael Fordham shortly before Jung's death:
My last meeting with Jung was a sad one. Shortly before his death a mutual friend brought me a letter from Jung over which he was very much upset. It was written in a shaky hand and was full of complaining despair; nobody understand him and his work had been a failure.... I decided therefore to go out to Zurich and see him in the hope of being able to relieve his distress by telling him something of the extent that he had been studied in England.... I arrived and Jung was there in his dressing gown and a skull cap. I told him about the letter and delivered my message. He looked at me as if I were a poor fool and did not know a thing.... he eventually became confused and distressed, and I asked him what was the matter. He did not speak for a minute or two and then he said 'You had better go' and regretfully I did so.' (Ibid., p. 272)
Therefore it seems posible that the inclusion of the deepest layers of the psyche can also bring a symmetry into the triadic arrangement as it is present in a more genuine unconscious form, and that would also drastically change a form of the individuation process. In that context it is worth mentioning that, amazingly, the mythologem of the individuation process which includes these deepest parts of the psyche is already formed in 5th century B.C. in Suffering Servant Songs incorporated into the Book of Isaiah, which seems to structure also the whole book, especially Second-Isaiah. Concerning the four Servant Songs this mythologem is most developed in the last, of which I quote a part where first speaks the prophet and then Yahweh himself:
Yet it was the LORD's will to crush him and
cause him to suffer,
and though the LORD's makes his life a guilt offering,
he will see his offspring and prolong his days,
and the will of the Lord will prosper in his hand.
After the suffering of his soul,
he will see the light of life and be satisfied;
by his knowledge my righteous servant will justify many,
and he will bear their iniquities.
Therefore I will give him a portion among the great,
and he will divide the spoils with the strong,
because he poured his life unto death,
and he was numbered with the transgressors.
For he bore the sin of many,
and made the intercession for the transgressors.
(Isaiah 53:10-12, NIV)
Contrary to Jung's theory, here the individuation process goes in the isolation and introversion to its very end, when, as the act of God, unexpectedly comes to the great enantiodromia, the reversal prepared in the unconscious, introducing as its result the active extroverted stage:
See, my servant will act wisely;
he will be raised and lifted up and highly exalted.
Just as there were many who were appalled at him -
his appearance was so disfigured beyond that of any man
and his form marred beyond human likeness (52:13-14)
This poetic description symbolically describes the result of the integration of the deepest levels of the psyche, highly beyond the human from above and under, where is the 'disfiguring' not less present also in the first prolonged phase the holding on the tensions present in this individuation process, which can find its place also concretely in the physical features. In the Book of Revelation, where this mythologem is further developed and strangely transformed, these central 'suffering' part of the transformation process is also symbolized with the prolonged and mysterious second death. Also here God's intervention brings to the integration in its end-phase, symbolized with the coming of the heavenly Jerusalem from God out of heaven. But the colors present in the foundations of the heavenly city can, in the context of the individuation process, be also compared with the colors appearing in the last stage of the meditation practice, with the difference that in the meditation practice the colors, connected with the division of the psyche in many colored figures, appear only temporary. This fragmentation seems to be also connected with the breaking of the 'dividing walls' in the psyche, which as the inborn parts of the natural psychic structure divide different complexes, thus holding its contents in check. Therefore Jung rightly compares this chaotic and uncontrollable phase with schizophrenia, here confined in a meditative surroundings and sufficiently hold in check with the meditative complex which replaces fragmented ego-structure, to use the terminology of Walter Odajnyk. Therefore in the next stage of the meditative process these activated and dissociated complexes must be 'emptied,' or, as in The Secret of the Golden Flower, returned into the 'cave of the ancestors,' that is, into the (partially) unconscious state again. This seems also to be the case with the twelve dorjes, the diamond thunderbolts in the well-known Lamaist Vajry-Mandala, which are, after their withdrawal into the circular central part from the square periphery, isolated in a double way from the four-colored background. This mandala, which like the heavenly Jerusalem, represents end-state of the individuation process, can put a lot of light on the uniqueness and the extent of tensions present in the mandala of the heavenly Jerusalem, whose realization requires a correspondingly high mountain, a magnitude of realized personality. In that context can be also explained a parallel given in Isaiah 2:2 NIV:
In the last days
the mountain of the LORD's temple will be established
as chief among the mountains;
it will be raised above the hills,
and all nations will stream to it.
Jung's mandala from the end of Twenties, which is mentioned in the beginning, and reproduced in his essay 'Concerning Mandala Symbolism' (Jung 1950, Figure 28), represents the third, most unexpected possibility because of its 'unconscious' structuring of the deepest layers of the psyche divided from the consciously arranged upper parts. That is visible in the existence of its sixteenfold structure, which, when coming into a direct contact with the peripheral consciously structured part of the psyche which represents the personal Self, would necessary be transformed into twelvefold structure, present in the heavenly Jerusalem as well as in the Lamaist Vajry-Mandala. Thus Jung's mandala in its central part has the sixteen colored globes placed circularly, which, despite the unconscious arrangement of their colors, paradoxically, as Jung says, represents the 'consciousness' of the transpersonal Self. This structure, which he describes as, 'the sixteen globes painted in four colours ... derived originally from an eye motif and therefore stand for the observing and discriminating consciousness' (ibid., para. 682), can be seen as the basis of Jung's unique, almost mystical intuition of the 'objective' kind. The colors of its structure can also represent the connective Eros principle, also in Jung's outside world not confined to the triadic structure, but extended toward the sixteenfold spectrum, as can be concluded from a description of Vincent Brome: 'Among the women who surrounded Jung, like ladies at a royal court, several were undoubtedly in love with him and the inevitable feuds, jealousies and to some extent back-biting recurred' (Brome 1978, p. 131). But, contrary to the outer reality, in his mandala this outside circle is placed into the center, while its periphery, symbolizing the personal Self with its two aspects of anima, corresponds to his inner triadic arrangement with Emma and Toni.
In the new Jerusalem - contrary to other types of the transformation process in the East as well as in the West, where colors temporary appear before the end of opus - colors are not only fixed on the periphery, representing the foundation for its transparent interior structure, but they developed into a full twelvefold spectrum. Also, the heavenly cube comes toward the earth symbolizing a leaving reality, contrary to a meditating sage which detaches himself from the material world with its colorful 'ten thousand things,' representing its deceptive and attractive glamour. In that context the colored Eros principle on the periphery of the heavenly mandala would symbolize the anima with its active and structured complexes, here not 'emptied' and therefore not represented with a withdrawal of colored figures or a disappearance of colors. Yet in the context of the individuation process, the differentiated periphery of the heavenly Jerusalem does not only represent the anima, but also the persona, which therefore can be termed the 'persona of the Self.' Beside that, the realization of the perfect heavenly model would bring to the more complex structure, which, though in its end-state (sufficiently) stable and controllable, would necessary be a highly dynamic, having almost spontaneous unpredictability with all its parts interconnected, where the static certainty and distinctive separation of its heavenly archetype would be necessary replaced with the blurring uncertainty, the state which reminds on the world of quantum physics with its dominating Heisenberg uncertainty principle. So in the realized mandala the 'ten thousand things' present in full colors, must be dynamically held in control, not scattered and not 'overflowing' into one another. Or, maybe more realistically, their dynamic differentiation must be deep enough to constrict their overflowing. In this context we can also mention the threefold Buddhist meditation of emptiness, delusion and the center. Things, despite been empty and delusion, still exist, therefore their overflowing must be counteracted with the meditation of their center symbolizing their ground.
This paradoxical complexity of the realized heavenly model is strikingly present in the last picture of the famous Dutch painter Piet Mondrian (1872-1944), appropriately called Victory Boogie-Woogie, which, as confirming its difficult realization even in an artistic way, remained unfinished because of painter's death. But in this mandala are also present the dark and even black blocks integrated into the conscious structure, thus symbolizing the shadow which, after been broken into many smaller and larger parts, is hold in check encircled with the consciously controlled colored structure. So here came to a peculiar reversal of John's pronouncement about Logos: 'The Light shines in the darkness, and the darkness did not comprehend it' (John 1:5), where the comprehension the Light of Darkness, and also the Darkness of Light, is not easy matter. Yet the comprehension is still harder in the region of colored light representing Eros principle, in which case, as it seems, the comprehension is only posible through the process of its integration, whose complexities and paradoxical twists appears to be rich enough to include even the Jung's observation that the darkness can accept only the light which it cannot understand.
Thus all these difficulties strongly suggest that the realization of this interior structure would also require the triadic outside structure for its structuring and fixation, especially in its end-phase. This opus magnum, paradoxically placed in the time when even a managing the more complex classical marriage approaches to miracle, can only be grounded on the archetypal structure, which lasting existence also presupposes the continuous integration process and genuine loyalty of all its three participants.
Despite all these arguments the legitimate question remains: is the differentiation of the psychic peripheral structure necessary connected with the outer triadic arrangement? Or, is it only the one of many posible options between 'the ten thousand things' and the celibacy? Therefore we will look for the another parallels as its posible archetypal foundations. In that context we can take again the new Jerusalem which in its center has the apocalyptic Lamb and Yahweh, the one feminine principle with the two masculine principles contained in it, which as the heavenly structure corresponds the unconscious state. Therefore the exchange of the principles can be explained as a mirroring of the basic archetypal structure in the process of its conscious integration. Yet here a better pair would be the Lamb and the male-child, which symbolize the transpersonal and the personal aspect of the Self - since Yahweh, characterized with the two stones, would represent the deepest aspect of Self outside time-space reality, in difference to Lamb symbolizing its transformational aspect. This duplication, which seems to be also connected with the repetition of the individuation process on the deepest level, is present not only in Isaiah but also in Paul's letters, where it found a most peculiar twist. This basic mythologem seems to be present also in the final dogma of Western Christianity with its extension of Filioque, which states that the Holy Spirit comes not only from Father but also from Son. Here the Holy Spirit - which despite been not (exclusively) feminine principle, has still many similarities with it - is in a symmetrical arrangement with two distinctly masculine principles. But a most interesting and close parallel can give us Pope's dogma of the Assumptio Marie, the Assumption of Virgin Mary, where 'Mary as the bride is united with the son in the heavenly bridal-chamber, and, as Sophia, with the Godhead' (Jung 1952, para. 743). But contrary to the modern Roman Catholic concretism, this dogma must be taken very symbolically, much more than Christ's pronouncement: 'I and the Father are one' (John 10:30 NAB), and especially: 'He who sees Me sees the One who sent Me' (12:45).
Since all these parallels deal with the metaphysical structure - psychologically corresponding to the ground of the psyche in completely unconscious state - they, compared to our conscious triadic structure, also mirror the feminine and masculine principles. Therefore only in Jung's case we can see the consciously structured triadic relationship, which, despite its enviable social setting and time, which compared with our seems as golden age, is still very actual.
But there seems to be also an another difference between the individuation process given with Isaiah and Revelation and that of Jung, caused with his personality strongly characterized with the archetype of the vise old man already from his early days. This is also visible in his mandala analyzed earlier, where behind the anima stays the archetype of the mana-personality, also with its two aspects. As we said, the four peripheral circles placed on the cardinal sides of the mandala can be equated with the personal Self, in difference to the central part representing a deeper and unconsciously structured part of the collective unconscious which can be termed the universal, suprapersonal or transpersonal Self. Each of the four aspects of the personal Self in its center has a human figure: 'at the top, an old man in the attitude of contemplation; at the bottom, Loki [the trickster Scandinavian god] God or Hephaestus [the ancient Greek god of fire, metalworking, and handicrafts] with red flaming hair, holding in his hands a temple. To the right and left are a light and a dark female figure' (Jung 1950, para. 682). Here the deepest part of the personal Self has also in itself the polarities genuinely present in the Eros, which, as we saw earlier, despite been the god of love, in early Greek mythology was also child of Chaos older then the Olympian gods, thus psychologically coming from the deepest and most archaic levels of the psyche through a chaotic phase. But in the mandala holding a temple in his hands, he is closer to the second stage where - as the son of Aphrodite, by various fathers: Zeus, Ares, or Hermes - he is the builder of cities and relationships.
Jung explains the four aspects of the personal Self present in the mandala:
Together they indicate four aspects of the personality, or four archetypal figures belonging, as it were, to the periphery of the self. The two female figures can be recognized without difficulty as the two aspect 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.' (Ibid.)
It seems that the tension present in the mana-personality coming from the deeper layers of the central transpersonal Self was hold and integrated on the more conscious horizontal plane between two aspects of his anima, in the living reality confined between his wife Emma Jung and younger Antonia Wolff.
But the question, is Jung's asymmetrical arrangement perfect realization of the archetype, or only partial, still remains. For the asymmetry as the archetypal feature also speaks the theory of the 'two type of women,' which, as Brome observes, now became a theoretical principle anticipated far back in Greek history: 'There were two types of women. One the "wife and mother" found fulfillment in her husband, children and domestic life; the other the "femme inspiratrice" who shared the man's intellectual pursuits and inspired his creative self' (Brome 1978, p. 137). Yet Emma, which was, in her own words, primarily concentrated on his husband and children, was also an 'intelligent, perceptive and laving person,' held in high esteem even of Freud himself. For her more than usual intelligence and deepness, to say the least, also speaks The Grail Legend, her lifelong achievement completed by Marie-Louise von Franz. Therefore the following Brome's description can be right only for the first phase of the triadic relation, where Toni Wolff: 'Not only emotionally and sexually was a rival threatening to replace her, but professionally, despite Emma's splendid efforts to keep pace, the young, vivid and more intellectual Toni Wolff was about to collaborate with Carl in a manner outside her range' (ibid.). Yet the two-type-women theory seems to be narrow even for the first stage of this triadic relationship, for which speaks the fact that Emma was willing to give a divorce to Jung, while Toni strongly pressed for his remarriage:
According to Paul J. Stern (C.G. Jung - The Haunted Prophet) the relationship between Toni and Emma underwent many changes. At one stage they invoked analytic techniques to explore their situation and arranged regular meetings with Jung's assistant Carl A. Meier in which they analysed one another.
Psychotherapy did not prevent Toni from breaking out of her assigned role at another period. According to Stern, 'She began to demand forcefully ... that Jung divorce Emma and marry her. Her offensive took the form of a massive direct interference in Jung's family life which Emma could not ignore and to which Jung's children reacted by becoming even more hostile and mocking towards Aunt Toni than before.' (Ibid., 185f.)
Despite that, we can take the earlier distinction as one of their key-differences, also present in Jung's mandala in two aspects of his anima 'incarnated' even in the physical appearances of Emma Jung and Toni Wolff, as well as in their personalities:
Emma and Toni were different women with different outlooks, Emma, conventionally correct, believing in the eternal verities and could not follow the higher flights of Carl's intellect. She did become an analyst and applied his psychotherapeutic method, but it was largely in an attempt to understand her husband's psychology. However, it would be a mistake to underestimate her. People who worked with her in analysis found her extremely helpful and understanding. She was also a tower of strength in the family. (Ibid., p. 170)
So here, at the bottom, is not the problem of the intellectual following of Jung's intellect, hence we are here confronted with an another, much deeper principle of Eros, on which especially points Emma's lifelong occupation with Arthurian mythology, which, as Jung believed, was continued even after her heath. Thus in his reflections 'On Life After Death' Jung says:
I had another experience of the evolution of the soul after death - about a year after by wife's death - I suddenly awoke one night and knew that I had been with her in the south of France, in Provence, and had spent and entire day with her. She was engaged on studies of the Grail there. That seemed significant to me, for she had died before completing her work on this subject. Interpretation on the subjective level - that my anima had not yet finished with the work she has to do - yielded nothing of interest; I know quite well that I am not yet finished with that. But the thought that my wife was continuing after death to work on her spiritual development - however that may be conceived - stuck me as meaningful and held a measure of reassurance for me. (Jung 1963, p. 341)
As for Toni,
she wanted to live a life free from moral or other inhibitions, brought the true intellectual's scepticism to accepted values and collaborated with Jung to the point where she pioneered new ground in her own right. She elaborated Jung's four functions with a description of four typologies in woman: the woman as Mother and Wife, the woman as Hetaera or companion and friend to Man, the woman as Amazon with a calling of her own, and the woman as Medium or mediator between the conscious and unconscious. Toni was both the inspired Hetaera and the Medium. (Brome 1978, p. 170)
Yet this intellectually biased personality seems to be too narrow for the complex and feminine nature of Antonia Wolff. Ruth Bailey, the 'Englishwoman and very relaxed person,' who from 1946 slowly becoming almost a part of Jungs family, 'found some members of the family stuffy and formal,' but had 'the greatest respect for Mrs Jung and liked Toni Wolff':
As I came more and more into the picture Toni seemed to be fading. She was unlucky. She had very bad arthritis - it made her finger fat.... She was getting on for sixty.... There were times when Jung deliberately avoided her. He would say to me, 'Toni is coming today - I hope she doesn't stay very long. (Ibid., p. 257)
Brome adds: 'Ruth Bailey found Tony elegant, quick-witted and sometimes sad. If she knew Toni was coming to tea she would say to Jung, "I'll leave you" - but Jung would insist that she stayed' (ibid.).
After this we will turn toward the posible triadic structure in the context of the individuation process with the deepest layer of the psyche included into the conscious integration, where the situation seems to be much worse. This is especially so, if we remember Jung's opinion of the simple classical marriage been so shaky institution that it needs help from the highest place, beside the diagnosis uttered in the time that in comparison with ours looks like the golden age. So, what can be God's interest for this arrangement? It can be only a coming to terms with difficulties in the differentiation of the colorful periphery in a real mandala, which seems to need a much higher tension then the 'melting and fixing' in the alchemical and meditative opus. Therefore, differently to the meditative opus which goes from the beginning to the end in the isolated meditative setting, in the individuation process as given in Isaiah and Revelation, in its end-phase comes to the great reversal with also the extroverted structuring the 'persona of the Self,' which would strongly require our analyzed triadic relationship.
This problematic is also present in the contemporary opus of Bob Dylan, which complexity and deepness presupposes this mythologem for the shaping of its basic structure, as well as for the individuation process present in it in the deepest and most thorough range. Thus, for example, in Dylan's many faceted-opus 'When the Ship Comes In,' his early poem from Sixties, pictures the key-reversal in the end of the process from the same 'objective' or distanced level as given in Isaiah. Contrary to this 'Shelter from the Storm' from Seventies gives its first stage, in its dark and chaotic aspects. From that time is also 'The Ballad of Frankie Lee and Judas Priest' with the strange bright big house, which Patrick Humphries characterized as a church or a brothel, concluding that Dylan allows 'listeners to make up their mind' (Humphries 1995, p. 38):
Well, Frankie Lee, he trembled,
He soon lost all control
Over ev'rything which he had made
While the mission bells did toll.
He just stood there staring
At that big house as bright as any sun,
With four and twenty windows
And a woman's face in ev'ry one. (Dylan 1994, p. 377)
This 'ballad' gives the same individuation process as present in Revelation, culminating with the mandala placed on the road called 'Eternity,' whose integration seems to be too much for the hero confined in it. The twenty four women's faces in windows can be seen as the chthonic counterpart of the twenty four old men in the heavenly vision in Revelation, where half of them seems to be transformed into twelve colored foundations of the heavenly Jerusalem, and twelve into its colorless doors. In Revelation the initial and the resulting mandala are placed in heaven, psychologically corresponding to the unconscious state, which means that the integration into the conscious personality is only posible when prepared in the collective unconscious in end-stage of the opus. Therefore, as the preparatory phase for the integration of the heavenly city, there is a long development nourished through the holding on the tensions of polarities, the suffering of the opposites, so abundantly presented in Revelation. Since this development is absent in the poem, it ends in a disaster:
Well, up the stairs ran Frankie Lee
With a soulful, bounding leap,
And, foaming at the mouth,
He began to make his midnight creep.
For sixteen nights and days he raved,
But on the seventeenth he burst
Into the arms of Judas Priest,
Which is where he died of thirst. (Ibid.)
Frankie Lee and Judas Priest, 'the best of friends,' symbolize the ego and the Self, where in the end only the Self remains. To counteract these catastrophe, in Dylan's opus as well as in Revelation, the individuation process must be repeated on much deeper level with the new 'extreme Christian phase' inserted in its beginning, for the necessary stabilization and strengthening of the light and conscious part of the psyche. The individuation process seen from this stage is, in Dylan's opus, given in 'Slow Train' from the end of Seventies.
Now we will turn toward another quaternity, that of the anima, which as Eros principle definitely dominates in Dylan opus, in which the archetype of the vise old man came into background replaced with the figures of the Self, especially in its messianic and apocalyptic aspects - also present in the earlier songs. In conformity with the domination of Eros principle in Dylan's opus, we can extend two aspects of the anima in Jung's mandala toward the quaternity made of his next four songs.
Thus up on the vertical axis we can place 'The Sad-Eyed Lady of the Lowlands' from Sixties, and under it 'Sara' from Seventies. The first poem, though written earlier, represents the deepest aspect of the anima with the gravity in the upper levels of the psyche. This bright mystical tendency seems to be also present in Jung' mandala in his right bright anima whose aura in pointed on the top, in difference to the aura of his left dark anima, which like 'Sara,' pictures her more earthly-bound counterpart, (temporary) free from the twists coming from deeper levels. Thus 'The Sad-Eyed Lady of the Lowlands,' which also cannot be confined to the interior world of the psyche, on the 'objective' level of the outside reality can be more or less 'incarnated' in a concrete woman of this type. Her gravity in the upper mystical levels of the psyche, masterfully pictured with her 'saintlike face' and 'ghostlike soul' (Dylan 1994, p.359), makes the hiatus between the lower layers of the 'real world.' Here the gap cannot be bridged in a reductive way, which she tried with her 'magazine-husband who one day just had to go' (ibid.). Yet it seems that this arrangement was archetypally caused with the strange 'heavenly' twist, in Revelation present in the exclusion of the measuring of the outer court of the temple of God, 'because it has been given to the Gentiles. They will trample on the holy city for 42 months' (Revelation 11:2 NIV). This concession seems to be connected with the extension of the individuation process on the Gentiles, which symbolize the more archaic but paradoxically also more earthly, and therefore not so 'mystically-deep,' layers of the collective unconscious as the tribes of Jacob and Israel. This extension is present in the Servant Song in Isaiah, where Yahweh says:
It is too small a thing for you to be my servant
to restore the tribes of Jacob
and bring back those of Israel I have kept.
I will also make you light for the Gentiles,
that you may bring my salvation to the
ends of the earth. (Isaiah 49:6 NIV)
The difficulties connected with this extension of the individuation process 'to the ends of the earth' are more realistically presented in Dylan's poem 'Stuck Inside of Mobile with the Memphis Blues Again,' which also requires its repetition on the deeper level (Dylan 1994, pp. 341f.):
An' here I sit so patiently
Waiting to find out what price
You have to pay to get out of
Going through all these things twice.
This two levels are probably also connected with the doubling of the anima and her worldly counterparts. In Dylan's anima quaternity as the representative of the outside more earthly layer of Gentile's world can be taken a pair placed on the horizontal earthly axis of the mandala. For this dyad of a more earthly aspect of anima can be taken 'Like a Rolling Stone' and 'Just Like a Woman,' both from Sixties. But just like 'The Sad-Eyed Lady of the Lowlands,' these songs needs extension, if in the opposite direction. Thus the whole transformation of the anima quaternity can be presented with its rotation for 45 degrees symbolizing their integration toward inclusion of the full twelvefold spectrum of Eros principle. These four songs contains many elements for structuring our triadic relationship, but this analysis would bring us too far, so we would left it to the wind of the future times.
In that place I would here mention probably the first constellation of our archetypal structure in the Bible, present in the strange story happened to Abram and Sarai. Where the short 'artificial marriage' of the sad-eyed lady can be equated to Abram presenting his wife Sarai as a sister to Egyptians, causing that she was taken into Pharaoh palace (Genesis 12). Here is the archetype, in accordance with the unconsciousness and concretism of that early time, structured differently and also in a reverse order. In the second stage Sarai takes initiative and 'took her Egyptian maidservant Hagar and gave her to her husband to be his wife' (Genesis 16:3 NIV). But this was too much for Hagar as well as for Sarai. 'He slept with Hagar and she conceived. When she knew she was pregnant, she began to despise her mistress' (16:4). With agreement of Abram 'Sarai ill-treated Hagar; so she fled from her' (16:6). Than 'the angel of the LORD found Hagar near a spring in the desert ... [and] told her, "Go back to your mistress and submit to her"' (16:7-9). Here the firstborn son of the outside Gentile's part, which in our context represents the individuation process on the larger but more down-to-earthly level, is, after its 'submission,' accepted again. This prepared the second stage of the individuation process, which began with the Yahweh's covenant with Abram extending his name in Abraham and shortening the name of his wife in Sarah, and also promising him a son with Sarah. 'Abraham, a lengthened form of Abram ('father is exalted'), is explained, by a sound-play, as father of multitude ... of nations' (Guthrie, Motyer, Stibbs, Wiseman 1970, p. 96). 'Sarah is a variant of Sarai, 'princes,' but strangely the meaning of the change is not intimated' (ibid., p. 97). God's promise was so strange that 'Abraham fell face down; he laughed and said to himself, "Will a son be born to a man a hundred years old? Will Sarah bear a child at the age of ninety? And Abraham said to God, "If only Ishmael [his son with Hagar, Ishmael means God hears] might live under your blessing!" Then God said, "Yes, but your wife Sarah will bear you a son, and you will call him Isaac [Isaac means he laughs]. I will establish my covenant with him as an everlasting covenant for his descendants after him"' (17:17-19). So it seems that we have here a more symmetrical triadic relationship then in Jung's case, with genuine elements of laughing Eros principle, even for God. Thus we can read in The New Bible Commentary: 'Curiously, however, the names of both Abraham and Sarai are changed by adding the same sound, 'ah-ah,' as though God were laughing with the parents-to-be! Combining a pun with His promise He put laughter into their very names: the union of aged Abraham and Sarah will produce Laughter-Isaac (lit. "he laughs")' (ibid.). This enantiodromia, which is here with the spirit of time given concretely as the strange outside event, in Dylan's poem 'My Back Pages' from 1964 is placed more on psychological plane. With this peculiar enantiodromia ends every of the six verses of his poem, which as a chorus accentuates the paradoxical transformation in the individuation process, here beginning by adding the same sound 'ah' on the beginning, not on the end as in the earlier case:
Ah, but I was so much older then,
I'm younger then that now. (Dylan 1994, pp. 209f.)
As a conclusion we may say that (confirmed also with the end of the first mystical marriage of Christ with Mary Magdalene as directed by Scorsese in The Last Temptation of Christ) it seems that, because of human limitation and frailness, the solution given in Revelation is confined only to a perfection of heaven, where 'the Holy City, the new Jerusalem, coming down out of heaven from God, [is] prepared as bride beautifully dressed for her husband' (Revelation 21:2 NIV). Here the husband of the heavenly cube is, strictly speaking, only Christ, not Yahweh: though present in it, because of his changelessness more connected with the fullness of eternity, also visible in his repeated description as the one 'who lives forever and ever.' This state is explicitly confirmed in Revelation 21:4, where the heavenly city is described as 'the bride, the wife of the Lamb.'
But in the earthly realm, representing conscious realization of this heavenly structure, the single solution extends into a full spectrum between celibacy and separated twelve foundations with the tendency of their further fragmentation toward 'ten thousand things in living colors.' In that spectrum, fortunately only as one of its options, is present our analyzed triadic structure which recommended itself as the outer frame with enough tension, to say the least, for the lasting formation of the 'personas of the Self' as the realization of the individuation process which includes the deepest layers of the psyche for all three participants. In that arrangement Eros principle, characterizing the feminine psyche, would certainly dominate the whole relationship, posing no small task for discriminating Logos principle, not only on the feminine side. This triadic structure, if staying in life long enough, may also transform the inborn differences between masculine and feminine psyche, also in their deepest layers. But despite all these good sides, we fortunately can also count with the classic arrangement present in heaven, if here only as one of many possibilities in the wide earthly spectrum, with the celibacy not excluded.
References
Brome, V. (1978). Jung: Man and Myth. London: Paladin Granada Publishing (1985).
Dylan, B. (1994) Lyrics, 1962-1985. London: HarperCollins.
Evans, B. (1970). Dictionary of Mythology. New York: A Laurel Book (1991).
Guthrie, D., Motyer, J. A., Editors; Stibbs, A. M., Wiseman, D. J., Consulting Editors: The New Bible Commentary: Revised. Grand Rapids: Eerdmans Publishing
Humphries, P. (1995). The Complete Guide to the Music of Bob Dylan. London: Omnibus Press.
Jung, C. G. (1952). Answer to Job. CW 11.
---------- (1950). 'Concerning Mandala Symbolism.' CW 9,I.
---------- (1963). Memories, Dreams, Reflections. Glasgow: Fontana Press (1995).
----------- (1928). 'The Relations between the Ego and the Unconscious.' CW 7.
Odajnyk, W. V. (1993). Gathering the Light: A Psychology of Meditation. Boston & London: Shambala.
Rosen, D. (1996). The Tao of Jung: the way of integrity. New York, London: Arcana, Penguin Group.
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