The Red Book, page 52
190.Third night.
191.January 18, 1914.
192.In The Relations between the I and the Unconscious (1928), Jung refers to a case of a man with paranoid dementia he encountered during his time at the Burghölzli who was in telephonic communication with the Mother of God (CW 7, §229).
193.Image legend: “This man of matter rises up too far in the world of the spirit, there the spirit bores through his heart with the golden ray. He falls with joy and disintegrates. The serpent, who is the evil one, could not remain in the world of the spirit.”
194.Jung’s marginal note to the calligraphic volume: “22.3.1919.” This seems to refer to when this passage was transcribed into the calligraphic volume.
195.In Psychology and Religion (1938), Jung commented on the symbolism of the world clock (CW 11, §110ff).
196.In Dante’s Commedia, the following lines are inscribed over the gates of Hell: “Abandon every hope, you who enter” (canto 3, line 9). See The Divine Comedy of Dante Aligheri, vol. 1., ed. and tr. Robert Durling (New York: Oxford University Press, 1997), p. 55.
197.The Draft continues: “For words are not merely words, but have meanings for which they are set. They attract these meanings like daimonic shadows” (p. 403).
198.The Draft continues: “Once you have seen the chaos, look at your face: you saw more than death and the grave, you saw beyond and your face bears the mark of one who has seen chaos and yet was a man. Many cross over, but they do not see the chaos; however the chaos sees them, stares at them, and imprints its features on them. And they are marked forever. Call such a one mad, for that is what he is; he has become a wave and has lost his human side, his constancy” (p. 404).
199.The preceding sentence is crossed out in the Corrected Draft, and Jung has written in the margin: “ΦΙΛΗΜΩΝ identification” (p. 405).
200.Jung elaborated on this issue many years later in Answer to Job (1952), where he studied the historical transformation of Judeo-Christian God images. A major theme in this is the continued incarnation of God after Christ. Commenting on the Book of Revelation, Jung argued that: “Ever since John the apocalyptist experienced for the first time (perhaps unconsciously) the conflict into which Christianity inevitably leads, mankind is burdened with this: God wanted and wants to become man” (CW 11, §739). In Jung’s view, there was a direct link between John’s views and Eckhart’s views: “This disturbing invasion engendered in him the image of the divine consort, whose image lives in every man: of the child, whom Meister Eckhart also saw in the vision. It was he who knew that God alone in his Godhead is not in a state of bliss, but must be born in the human soul. The incarnation in Christ is the prototype which is continually being transferred to the creature by the Holy Ghost” (Ibid., §741). In contemporary times, Jung gave great importance to the papal bull of the Assumptio Maria. He held that it “points to the hieros gamos in the Pleroma, and this in turn implies, as we have said, the future birth of the divine child, who, in accordance with the divine trend toward incarnation, will choose as his birthplace the empirical man. This metaphysical process is known as the individuation process in the psychology of the unconscious” (Ibid., §755). Through being identified with the continued incarnation of God in the soul, the process of individuation found its ultimate significance. On May 3, 1958, Jung wrote to Morton Kelsey: “The real history of the world seems to be the progressive incarnation of the deity” (Letters 2, p. 436).
201.Image legend: “The serpent fell dead unto the earth. And that was the umbilical cord of a new birth.” The serpent is similar to the serpent in Image 109. In Black Book 7 on January 27, 1922, Jung’s soul refers to images 109 and 111. His soul says: “the giant cloud of eternal night is awful. I see a yellow shining stroke on this cloud from the top left-hand corner in the irregular shape of a streak of lightning, and behind it an indeterminate reddish light in the cloud. It does not move. I see a dead black serpent lying beneath the cloud and the lightning. It does not move. Beneath the cloud I see a dead black serpent and the thunderbolt stuck in its head like a spear. A hand, as large as that of a God, has thrown the spear and everything has frozen to a gloomy image. What is it trying to say. Do you recall that image that you painted years ago, the one in which the black and red man with the black and white serpent is struck by the ray of God [i.e., image 109]? This image seems to follow that one, because afterward you also painted the dead serpent [i.e., image 111] and did you not behold a gloomy image this morning, of that man in the white robe and a black face, like a mummy?” I: “How now, what is this supposed to mean?” Soul: “It is an image of your self” (p. 57).
202.The Draft continues: “But who does this under the law of love will move beyond suffering, sit at the table with the anointed and behold God’s glory” (p. 406).
203.The Draft continues: “But God will come to those who take their suffering upon themselves under the law of love, and he will establish a new bond with them. For it is predicted that the anointed is supposed to return, but no longer in the flesh, but in the spirit. And just as Christ guided the flesh upward through the torment of salvation, the anointed of this time will guide the spirit upward through the torment of salvation” (p. 407).
204.The Draft continues: “The lowest in you is the stone that the builders discarded. It will become the cornerstone. The lowest in you will grow like a grain of rice from dry soil, shooting up from the sand of the most barren desert, and rise and stand very tall. Salvation comes to you from the discarded. Your sun will rise from muddy swamps. Like all others, you are annoyed at the lowest in you because its guise is uglier than the image of yourself that you love. The lowest in you is the most despised and least valued, full of pain and sickness. He is despised so much that one hides one’s face from him, that he is held in no respect whatsoever, and it is even said that he does not exist because one is ashamed for his sake and despises oneself. In truth, it carries our sickness and is ridden with our pain. We consider him the one who is plagued and punished by God on account of his despicable ugliness. But he is wounded, and exposed to madness, for the sake of our own justice; he is crucified and suppressed for the sake of our own beauty. We leave him to punishment and martyrdom that we might have peace. But we will take his sickness upon ourselves, and salvation will come to us through our own wounds” (pp. 407–8). The first lines refer to Psalm 118:22. The passage echoes Isaiah 53, which Jung cited above, p. 118.
205.The Draft continues: “Why should our spirit not take upon itself torment and restlessness for the sake of sanctification? But all this will come over you, for I already hear the steps of those who bear the keys to open the gates of the depths. The valleys and mountains that resound with the noise of battles, the lamentation arising from innumerable inhabited sites is the omen of what is to come. My visions are truth for I have beheld what is to come. But you are not supposed to believe me, because otherwise you will stray from your path, the right one, that leads you safely to your suffering that I have seen ahead. May no faith mislead you, accept your utmost unbelief, it guides you on your way. Accept your betrayal and infidelity, your arrogance and your better knowledge, and you will reach the safe and secure route that leads you to your lowest; and what you do to your lowest, you will do to the anointed. Do not forget this: Nothing of the law of love is abrogated, but much has been added to it. Cursed unto himself is he who kills the one capable of love in himself, for the horde of the dead who died for the sake of love is immeasurable, and the mightiest among these dead is Christ the Lord. Holding these dead in reverence is wisdom. Purgatory awaits those who murder the one in themselves who is capable of love. You will lament and rave against the impossibility of uniting the lowest in you with the law of those who love. I say to you: Just as Christ subjugated the nature of the physical to the spirit under the law of the word of the father, the nature of the spirit shall be subjugated to the physical under the law of Christ’s completed work of salvation through love. You are afraid of the danger; but know that where God is nearest, the danger is greatest. How can you recognize the anointed one without any danger? Will one ever acquire a precious stone with a copper coin? The lowest in you is what endangers you. Fear and doubt guard the gates of your way. The lowest in you is the unforeseeable for you cannot see it. Thus shape and behold it. You will thus open the floodgates of chaos. The sun arises from the darkest, dampest, and coldest. The unknowing people of this time only see the one; they never see the other approaching them. But if the one exists, so does the other” (pp. 409–10). Jung here implicitly cites the opening lines of Friedrich Hölderlin’s “Patmos,” which was one of his favorite poems: “Near is / the God, and hard to grasp. / But where danger is, / salvation also grows.” Jung discussed this in Transformations and Symbols of the Libido (1912, CW B, §651f).
206.These lines actually cite Isaiah 63:2–6.
207.Matthew 10:34: “Think not that I am come to send peace on earth: I came not to send peace, but a sword.”
208.In Answer to Job (1952), Jung wrote of Christ on the cross: “This picture is completed by the two thieves, one whom goes down to hell, the other into paradise. One could hardly imagine a better representation of the oppositeness of the central Christian symbol” (CW 11, §659).
209.Dieterich notes that in Plato’s Gorgias, there is the motif that transgressors hang in Hades (Nekyia, p. 117). In Jung’s list of references at the back of his copy of Nekyia, he noted: “117 hanging.”
210.Matthew 10:16: “Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves.”
211.Image legend: “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 ΦΙΛΗΜΩΝ [Philemon] had predicted to me. I called him ΦΑΝΗΣ [Phanes], because he is the newly appearing God.” may be the astrological sign for the sun. In the Orphic theogony, Aither and Chaos are born from Chronos. Chronos makes an egg in Aither. The egg splits into two, and Phanes, the first of the Gods, appears. Guthrie writes that “he is imagined as marvelously beautiful, a figure of shining light, with golden wings on his shoulders, four eyes, and the heads of various animals. He is of both sexes, since he is to create the race of the gods unaided” (Orpheus and Greek Religion: A Study of the Orphic Movement [London: Methuen, 1935, p. 80). In Transformations and Symbols of the Libido (1912) while discussing mythological conceptions of creative force, Jung drew attention to the “Orphic figure of Phanes, the ‘Shining One,’ the first-born, the ‘Father of Eros.’ In Orphic terms, Phanes also denotes Priapos, a god of love, androgynous, and equal to the Theban Dionysus Lysios. The Orphic meaning of Phanes is the same as that of the Indian Kâma, the God of love, which is also a cosmogonic principle” (CW B, §223). Phanes appears in Black Book 6 in the autumn of 1916. His attributes match the classical depictions, and he is described as the brilliant one, a God of beauty and light. Jung’s copy of Isaac Cory’s Ancient Fragments of the Phoenician, Chaldean, Egyptian, Tryian, Carthaginian, Indian, Persian, and Other Writers; With an Introductory Dissertation; And an Inquiry into the Philosophy and Trinity of the Ancients has underlinings in the section containing the Orphic theogony, and a slip of paper and mark by the following statement: “they imagine as the god a conceiving and conceived egg, or a white garment, or a cloud, because Phanes springs forth from these” ([London: William Pickering, 1832], p. 310). Phanes is Jung’s God. On September 28, 1916, Phanes is described as a golden bird (Black Book 6, p. 119). On February 20, 1917, Jung addresses Phanes as the messenger of Abraxas (Ibid., p. 167). On May 20, 1917, Philemon says that he will become Phanes (Ibid., p. 195). On September 11, Philemon describes him as follows: “Phanes is the God who rises agleam from the waters. / Phanes is the smile of dawn. / Phanes is the resplendent day. / He is the immortal present. / He is the gushing streams. / He is the soughing wind. / He is hunger and satiation. / He is love and lust. / He is mourning and consolation. / He is promise and fulfillment. / He is the light that illuminates every darkness. / He is the eternal day. / He is the silver light of the moon. / He is the flickering stars. / He is the shooting star that flashes and falls and lapses. / He is the stream of shooting stars that returns every year. / He is the returning sun and moon. / He is the trailing star that brings wars and noble wine. / He is the good and fullness of the year. / He fulfills the hours with life-filled enchantment. / He is love’s embrace and whisper. / He is the warmth of friendship. / He is the hope that enlivens the void. / He is the magnificence of all renewed suns. / He is the joy at every birth. / He is the blooming flowers. / He is the velvety butterfly’s wing. / He is the scent of blooming gardens that fills the nights. / He is the song of joy. / He is the tree of light. / He is perfection, everything done better. / He is everything euphonious. / He is the well-measured. / He is the sacred number. / He is the promise of life. / He is the contract and the sacred pledge. / He is the diversity of sounds and colors. / He is the sanctification of morning, noon, and evening. / He is the benevolent and the gentle. / He is salvation. . . / In truth, Phanes is the happy day. . . / In truth, Phanes is work and its accomplishment and its remuneration. / He is the troublesome task and the evening calm. / He is the step on the middle way, its beginning, its middle, and its end. / He is foresight. / He is the end of fear. / He is the sprouting seed, the opening bud. / He is the gate of reception, of acceptance and deposition. / He is the spring and the desert. / He is the safe haven and the stormy night. / He is the certainty in desperation. / He is the solid in dissolution. / He is the liberation from imprisonment. / He is counsel and strength in advancement. / He is the friend of man, the light emanating from man, the bright glow that man beholds on his path. / He is the greatness of man, his worth, and his force” (Black Book 7, pp. 16–9). On July 31, 1918, Phanes himself 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. / I give you the joy of suffering and suffering of joy. / I give you what has been found: the constancy in change and the change in constancy. / The jug made of stone, the vessel of completion. Water flowed in, wine flowed in, milk flowed in, blood flowed in. / The fours winds precipitated into the precious vessel. / The Gods of the four heavenly realms hold its curvature, the two mothers and the two fathers guard it, the fire of the North burns above its mouth, the serpent of the South encircles its bottom, the spirit of the East holds one of its sides and the spirit of the West the other. / Forever denied it exists forever. Recurring in all forms, forever the same, this one precious vessel, surrounded by the circle of animals, denying itself, and arising in new splendor through its self-denial. / The heart of God and of man. / It is the One and the Many. A path leading across mountains and valleys, a guiding star on the oceans, in you and always ahead of you. / Perfected, indeed truly perfected is he who knows this. / Perfection is poverty. But poverty means gratitude. Gratitude is love (2 August). / In truth, perfection is sacrifice. / Perfection is joy and anticipation of the shadow. / Perfection is the end. The end means the beginning, and hence perfection is both smallness and the smallest possible beginning. / Everything is imperfect, and perfection is hence solitude. But solitude seeks community. Hence perfection means community. / I am perfection, but perfected is only he who has attained his limits. / I am the eternal light, but perfect is he who stands between day and night. I am eternal love, but perfect is he who has placed the sacrificial knife beside his love. / I am beauty, but perfect is he who sits against the temple wall and mends shoes for money. / He who is perfect is simple, solitary, and unanimous. Hence he seeks diversity, community, ambiguity. Through diversity, community, and ambiguity he advances toward simplicity, solitude, and unanimousness. / He who is perfect knows suffering and joy, but I am the bliss beyond joy and suffering. / He who is perfect knows light and dark, but I am the light beyond day and darkness. / He who is perfect knows up and down, but I am the height beyond high and low. / He who is perfect knows the creating and the created, but I am the parturient image beyond creation and creature. / He who is perfect knows love and being loved, but I am the love beyond embrace and mourning. / He who is perfect knows male and female, but I am the One, his father and son beyond masculine and feminine, beyond child and the aged. / He who is perfect knows rise and fall, but I am the center beyond dawn and dusk. / He who is perfect knows me and hence he is different from me” (Black Book 7, pp. 76–80).
212.Jung’s marginal note to the calligraphic volume: 14. IX. 1922.
213.In Transformations and Symbols of the Libido (1912), Jung referred to a legend in which the tree had withered after the fall (CW B, §375).
214.The Draft continues: “Hence Christ taught: Blessed be ye poor, for yours is the kingdom of God” (p. 416). This refers to Luke 6:20.
215.Fourth night.
216.January 19, 1914.
217.In the first act of the second part of Goethe’s Faust, Faust has to descend to the realm of the Mothers. There has been much speculation concerning the meaning of this term in Goethe. To Eckermann, Goethe stated that the source for the name was from Plutarch. In all likelihood, this was Plutarch’s discussion of the Mother Goddesses in Engyon. (See Cryus Hamlin, ed., Faust [New York: W. W. Norton, 1976], pp. 328–29.) In 1958, Jung identified the realm of the Mothers with the collective unconscious (A Modern Myth: Of Things That Were Seen in the Skies, CW 10, §714).
