Collected Works of C.G. Jung, Volume 9 (Part 1) – Archetypes and the Collective Unconscious: 009 (Princeton/Bollingen Paperbacks) - Hardcover

Jung, C. G.; Adler, Gerhard; Hull, R. F.c.

Hardcover

ISBN 10: 0691097615 ISBN 13: 9780691097619

Publisher: Princeton University Press, 1992

Synopsis

A collection of some of Jung's most important essays on the archetypes and the collective unconscious

The Archetypes and the Collective Unconscious features many of Jung's most important essays describing and elaborating on these two central, related concepts. The contents are:

• Archetypes of the Collective Unconscious (1934)
• The Concept of the Collective Unconscious (1936)
• Concerning the Archetypes, with Special Reference to the Anima Concept (1936)
• Psychological Aspects of the Mother Archetype (1938)
• Concerning Rebirth (1939)
• The Psychology of the Child Archetype (1940)
• The Psychological Aspects of the Kore (1941)
• The Phenomenology of the Spirit in Fairytales (1945)
• On the Psychology of the Trickster-Figure (1954)
• Conscious, Unconscious, and Individuation (1939)
• A Study in the Process of Individuation (1933)
• Concerning Mandala Symbolism (1950)

About this title

About the Author

C. G. Jung (1875-1961) was one of the most important psychologists of the twentieth century.

Excerpt. © Reprinted by permission. All rights reserved.

THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS

By C. G. JUNG, GERHARD ADLER, R. F. C. HULL

PRINCETON UNIVERSITY PRESS

Copyright © 1969 PRINCETON UNIVERSITY PRESS
All rights reserved.

ISBN: 978-0-691-09761-9

Contents

EDITORIAL NOTE, v, 
TRANSLATOR'S NOTE, vi, 
LIST OF ILLUSTRATIONS, xi, 
I, 
Archetypes of the Collective Unconscious, 3, 
The Concept of the Collective Unconscious, 42, 
Concerning the Archetypes, with Special Reference to the Anima Concept, 54, 
II, 
Psychological Aspects of the Mother Archetype, 75, 
III, 
Concerning Rebirth, 113, 
IV, 
The Psychology of the Child Archetype, 151, 
The Psychological Aspects of the Kore, 182, 
V, 
The Phenomenology of the Spirit in Fairytales, 207, 
On the Psychology of the Trickster-Figure, 255, 
VI, 
Conscious, Unconscious, and Individuation, 275, 
A Study in the Process of Individuation, 290, 
Concerning Mandala Symbolism, 355, 
APPENDIX: Mandalas, 385, 
BIBLIOGRAPHY, 391, 
INDEX, 419, 

CHAPTER 1

ARCHETYPES OF THE COLLECTIVE UNCONSCIOUS

1 The hypothesis of a collective unconscious belongs to the class of ideas that people at first find strange but soon come to possess and use as familiar conceptions. This has been the case with the concept of the unconscious in general. After the philosophical idea of the unconscious, in the form presented chiefly by Carus and von Hartmann, had gone down under the overwhelming wave of materialism and empiricism, leaving hardly a ripple behind it, it gradually reappeared in the scientific domain of medical psychology.

2 At first the concept of the unconscious was limited to denoting the state of repressed or forgotten contents. Even with Freud, who makes the unconscious—at least metaphorically—take the stage as the acting subject, it is really nothing but the gathering place of forgotten and repressed contents, and has a functional significance thanks only to these. For Freud, accordingly, the unconscious is of an exclusively personal nature, although he was aware of its archaic and mythological thought-forms.

3 A more or less superficial layer of the unconscious is undoubtedly personal. I call it the personal unconscious. But this personal unconscious rests upon a deeper layer, which does not derive from personal experience and is not a personal acquisition but is inborn. This deeper layer I call the collective unconscious. I have chosen the term "collective" because this part of the unconscious is not individual but universal; in contrast to the personal psyche, it has contents and modes of behaviouT that are more or less the same everywhere and in all individuals. It is, in other words, identical in all men and thus constitutes a common psychic substrate of a suprapersonal nature which is present in every one of us.

4 Psychic existence can be recognized only by the presence of contents that are capable of consciousness. We can therefore speak of an unconscious only in so far as we are able to demonstrate its contents. The contents of the personal unconscious are chiefly the feeling-toned complexes, as they are called; they constitute the personal and private side of psychic life. The contents of the collective unconscious, on the other hand, are known as archetypes.

5 The term "archetype" occurs as early as Philo Judaeus, with reference to the Imago Dei (God-image) in man. It can also be found in Irenaeus, who says: "The creator of the world did not fashion these things directly from himself but copied them from archetypes outside himself." In the Corpus Hermeticum, God is called [TEXT NOT REPRODUCIBLE IN ASCII] (archetypal light). The term occurs several times in Dionysius the Areopagite, as for instance in De caelesti hierarchia, II, 4: "immaterial Archetypes," and in De divinis nominibus, I, 6: "Archetypal stone." The term "archetype" is not found in St. Augustine, but the idea of it is. Thus in De diversis quaestionibus LXXXIII he speaks of "ideae principales, 'which are themselves not formed ... but are contained in the divine understanding.'" "Archetype" is an explanatory paraphrase of the Platonic [TEXT NOT REPRODUCIBLE IN ASCII]. For our purposes this term is apposite and helpful, because it tells us that so far as the collective unconscious contents are concerned we are dealing with archaic or—I would say—primordial types, that is, with universal images that have existed since the remotest times. The term "representations collectives," used by Lévy-Bruhl to denote the symbolic figures in the primitive view of the world, could easily be applied to unconscious contents as well, since it means practically the same thing. Primitive tribal lore is concerned with archetypes that have been modified in a special way. They are no longer contents of the unconscious, but have already been changed into conscious formulae taught according to tradition, generally in the form of esoteric teaching. This last is a typical means of expression for the transmission of collective contents originally derived from the unconscious.

6 Another well-known expression of the archetypes is myth and fairytale. But here too we are dealing with forms that have received a specific stamp and have been handed down through long periods of time. The term "archetype" thus applies only indirectly to the "representations collectives," since it designates only those psychic contents which have not yet been submitted to conscious elaboration and are therefore an immediate datum of psychic experience. In this sense there is a considerable difference between the archetype and the historical formula that has evolved. Especially on the higher levels of esoteric teaching the archetypes appear in a form that reveals quite unmistakably the critical and evaluating influence of conscious elaboration. Their immediate manifestation, as we encounter it in dreams and visions, is much more individual, less understandable, and more naive than in myths, for example. The archetype is essentially an unconscious content that is altered by becoming conscious and by being perceived, and it takes its colour from the individual consciousness in which it happens to appear.

7 What the word "archetype" means in the nominal sense is clear enough, then, from its relations with myth, esoteric teaching, and fairytale. But if we try to establish what an archetype is psychologically, the matter becomes more complicated. So far mythologists have always helped themselves out with solar, lunar, meteorological, vegetal, and other ideas of the kind. The fact that myths are first and foremost psychic phenomena that reveal the nature of the soul is something they have absolutely refused to see until now. Primitive man is not much interested in objective explanations of the obvious, but he has an imperative need—or rather, his unconscious psyche has an irresistible urge—to assimilate all outer sense experiences to inner, psychic events. It is not enough for the primitive to see the sun rise and set; this external observation must at the same time be a psychic happening: the sun in its course must represent the fate of a god or hero who, in the last analysis, dwells nowhere except in the soul of man. All the mythologized processes of nature, such as summer and winter, the phases of the moon, the rainy seasons, and so forth, are in no sense allegories of these objective occurrences; rather they are symbolic expressions of the inner, unconscious drama of the psyche which becomes accessible to man's consciousness by way of projection—that is, mirrored in the events of nature. The projection is so fundamental that it has taken several thousand years of civilization to detach it in some measure from its outer object. In the case of astrology, for instance, this age-old "scientia intuitiva" came to be branded as rank heresy because man had not yet succeeded in making the psychological description of character independent of the stars. Even today, people who still believe in astrology fall almost without exception for the old superstitious assumption of the influence of the stars. And yet anyone who can calculate a horoscope should know that, since the days of Hipparchus of Alexandria, the spring-point has been fixed at 0° Aries, and that the zodiac on which every horoscope is based is therefore quite arbitrary, the spring-point having gradually advanced, since then, into the first degrees of Pisces, owing to the precession of the equinoxes.

8 Primitive man impresses us so strongly with his subjectivity that we should really have guessed long ago that myths refer to something psychic. His knowledge of nature is essentially the language and outer dress of an unconscious psychic process. But the very fact that this process is unconscious gives us the reason why man has thought of everything except the psyche in his attempts to explain myths. He simply didn't know that the psyche contains all the images that have ever given rise to myths, and that our unconscious is an acting and suffering subject with an inner drama which primitive man rediscovers, by means of analogy, in the processes of nature both great and small.

9 "The stars of thine own fate lie in thy breast," says Seni to Wallenstein—a dictum that should satisfy all astrologers if we knew even a little about the secrets of the heart. But for this, so far, men have had little understanding. Nor would I dare to assert that things are any better today.

10 Tribal lore is always sacred and dangerous. All esoteric teachings seek to apprehend the unseen happenings in the psyche, and all claim supreme authority for themselves. What is true of primitive lore is true in even higher degree of the ruling world religions. They contain a revealed knowledge that was originally hidden, and they set forth the secrets of the soul in glorious images. Their temples and their sacred writings proclaim in image and word the doctrine hallowed from of old, making it accessible to every believing heart, every sensitive vision, every farthest range of thought. Indeed, we are compelled to say that the more beautiful, the more sublime, the more comprehensive the image that has evolved and been handed down by tradition, the further removed it is from individual experience. We can just feel our way into it and sense something of it, but the original experience has been lost.

11 Why is psychology the youngest of the empirical sciences? Why have we not long since discovered the unconscious and raised up its treasure-house of eternal images? Simply because we had a religious formula for everything psychic—and one that is far more beautiful and comprehensive than immediate experience. Though the Christian view of the world has paled for many people, the symbolic treasure-rooms of the East are still full of marvels that can nourish for a long time to come the passion for show and new clothes. What is more, these images—be they Christian or Buddhist or what you will—are lovely, mysterious, richly intuitive. Naturally, the more familiar we are with them the more does constant usage polish them smooth, so that what remains is only banal superficiality and meaningless paradox. The mystery of the Virgin Birth, or the homoousia of the Son with the Father, or the Trinity which is nevertheless not a triad—these no longer lend wings to any philosophical fancy. They have stiffened into mere objects of belief. So it is not surprising if the religious need, the believing mind, and the philosophical speculations of the educated European are attracted by the symbols of the East—those grandiose conceptions of divinity in India and the abysms of Taoist philosophy in China—just as once before the heart and mind of the men of antiquity were gripped by Christian ideas. There are many Europeans who began by surrendering completely to the influence of the Christian symbol until they landed themselves in a Kierkegaardian neurosis, or whose relation to God, owing to the progressive impoverishment of symbolism, developed into an unbearably sophisticated I-You relationship—only to fall victims in their turn to the magic and novelty of Eastern symbols. This surrender is not necessarily a defeat; rather it proves the receptiveness and vitality of the religious sense. We can observe much the same thing in the educated Oriental, who not infrequently feels drawn to the Christian symbol or to the science that is so unsuited to the Oriental mind, and even develops an enviable understanding of them. That people should succumb to these eternal images is entirely normal, in fact it is what these images are for. They are meant to attract, to convince, to fascinate, and to overpower. They are created out of the primal stuff of revelation and reflect the ever-unique experience of divinity. That is why they always give man a premonition of the divine while at the same time safeguarding him from immediate experience of it. Thanks to the labours of the human spirit over the centuries, these images have become embedded in a comprehensive system of thought that ascribes an order to the world, and are at the same time represented by a mighty, far-spread, and venerable institution called the Church.

12 I can best illustrate my meaning by taking as an example the Swiss mystic and hermit, Brother Nicholas of Flüe, who has recently been canonized. Probably his most important religious experience was the so-called Trinity Vision, which preoccupied him to such an extent that he painted it, or had it painted, on the wall of his cell. The painting is still preserved in the parish church at Sachseln. It is a mandala divided into six parts, and in the centre is the crowned countenance of God. Now we know that Brother Klaus investigated the nature of his vision with the help of an illustrated devotional booklet by a German mystic, and that he struggled to get his original experience into a form he could understand. He occupied himself with it for years. This is what I call the "elaboration" of the symbol. His reflections on the nature of the vision, influenced as they were by the mystic diagrams he used as a guiding thread, inevitably led him to the conclusion that he must have gazed upon the Holy Trinity itself—the summum bonum, eternal love. This is borne out by the "expurgated" version now in Sachseln.

13 The original experience, however, was entirely different. In his ecstasy there was revealed to Brother Klaus a sight so terrible that his own countenance was changed by it—so much so, indeed, that people were terrified and felt afraid of him. What he had seen was a vision of the utmost intensity. Woelflin, our oldest source, writes as follows:

All who came to him were filled with terror at the first glance. As to the cause of this, he himself used to say that he had seen a piercing light resembling a human face. At the sight of it he feared that his heart would burst into little pieces. Therefore, overcome with terror, he instantly turned his face away and fell to the ground. And that was the reason why his face was now terrible to others.

14 This vision has rightly been compared 15 with the one in Revelation 1 : 13ff., that strange apocalyptic Christ-image, which for sheer gruesomeness and singularity is surpassed only by the monstrous seven-eyed lamb with seven horns (Rev. 5 : 6f.). It is certainly very difficult to see what is the relationship between this figure and the Christ of the gospels. Hence Brother Klaus's vision was interpreted in a quite definite way by the earliest sources. In 1508, the humanist Karl Bovillus (Charles de Bouelles) wrote to a friend:

I wish to tell you of a vision which appeared to him in the sky, on a night when the stars were shining and he stood in prayer and contemplation. He saw the head of a human figure with a terrifying face, full of wrath and threats.

15 This interpretation agrees perfectly with the modern amplification furnished by Revelation 1 : 13. Nor should we forget Brother Klaus's other visions, for instance, of Christ in the bearskin, of God the Father and God the Mother, and of himself as the Son. They exhibit features which are very undogmatic indeed.

16 Traditionally this great vision was brought into connection with the Trinity picture in the church at Sachseln, and so, likewise, was the wheel symbolism in the so-called "Pilgrim's Tract." Brother Klaus, we are told, showed the picture of the wheel to a visiting pilgrim. Evidently this picture had preoccupied him for some time. Blanke is of the opinion that, contrary to tradition, there is no connection between the vision and the Trinity picture. This scepticism seems to me to go too far. There must have been some reason for Brother Klaus's interest in the wheel. Visions like the one he had often cause mental confusion and disintegration (witness the heart bursting "into little pieces"). We know from experience that the protective circle, the mandala, is the traditional antidote for chaotic states of mind. It is therefore only too clear why Brother Klaus was fascinated by the symbol of the wheel. The interpretation of the terrifying vision as an experience of God need not be so wide of the mark either. The connection between the great vision and the Trinity picture, and of both with the wheel-symbol, therefore seems to me very probable on psychological grounds.

17 This vision, undoubtedly fearful and highly perturbing, which burst like a volcano upon his religious view of the world, without any dogmatic prelude and without exegetical commentary, naturally needed a long labour of assimilation in order to fit it into the total structure of the psyche and thus restore the disturbed psychic balance. Brother Klaus came to terms with his experience on the basis of dogma, then firm as a rock; and the dogma proved its powers of assimilation by turning something horribly alive into the beautiful abstraction of the Trinity idea. But the reconciliation might have taken place on a quite different basis provided by the vision itself and its unearthly actuality—much to the disadvantage of the Christian conception of God and no doubt to the still greater disadvantage of Brother Klaus himself, who would then have become not a saint but a heretic (if not a lunatic) and would probably have ended his life at the stake.

(Continues...)

Excerpted from THE ARCHETYPES AND THE COLLECTIVE UNCONSCIOUS by C. G. JUNG, GERHARD ADLER, R. F. C. HULL. Copyright © 1969 PRINCETON UNIVERSITY PRESS. Excerpted by permission of PRINCETON UNIVERSITY PRESS.
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Edition details

• Publisher: Princeton University Press
• Publication date: 1992
• ISBN 10: 0691097615
• ISBN 13: 9780691097619
• Binding: Hardcover
• Language: English
• Edition number: 2
• Number of pages: 480