The Red Book, page 55
283.In “The psychological aspects of the Kore” (1951), Jung anonymously described this image as “xi. Then she [the anima] appears in a church, taking the place of the altar, still over-life-size but with veiled face.” He commented: “Dream xi restores the anima to the Christian church, not as an icon but as the altar itself. The altar is the place of sacrifice and also the receptacle for consecrated relics” (CW 9, 1, §369, 380). On the left-hand side, there is the Arabic word for “daughters.” On the border of the image is the following inscription: “Dei sapientia in mysterio quae abscondita est, quam praedestinavit ante secula in gloriam nostrum quam nemo princip[i]um huius seculi cognovit. Spiritus enim omnia scrutatur etiam profundo dei.” This is a citation from 1 Corinthians 2:7–10. (Jung has omitted “Deus” before “ante secula.” ) The portions cited are marked here in italics: “But we speak the wisdom of God in a mystery, even the hidden wisdom, which God ordained before the world unto our glory: Which none of the princes of the world knew: for had they known it, they would not have crucified the Lord of glory. But as it is written, Eye hath not seen, nor ear heard, neither have entered into the heart of man, the things which God hath prepared for them that love him. But God hath revealed them unto us by his Spirit: for the Spirit searcheth all things, yea, the deep things of God.” On either side of the arch is the following inscription: “Spiritus et sponsa dicunt veni et qui audit dicat veni et qui sitit veniat qui vult accipiat aquam vitae gratis.” The text is from Revelation 22:17: “the Spirit and the bride say, Come. And let him that heareth say, Come. And let him that is athirst come. And whosoever will, let him take the water of life freely.” Above the arch is the following inscription: “ave virgo virginum [Hail, virgin of virgins].” This is the title of a medieval hymn.
284.January 29, 1914.
285.From this point in the calligraphic volume, Jung’s coloring of red and blue initials becomes less consistent. Some have been added here for consistency.
286.This line is not in Black Book 4, where the voice is not identified as the serpent.
287.January 31, 1914.
288.In Mysterium Coniunctionis (1955/56), Jung noted: “If the projected conflict is to be healed, it must return into the soul of the individual, where it had its beginnings in an unconscious manner. He who wants to be the master of this descent must celebrate a Last Supper with himself, and eat his own flesh and drink his own blood; which means that he must recognize and accept the other in himself” (CW 14, §512).
289.Cf. Isaiah 11:6: “The wolf also shall dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them.”
290.Jung’s marginal note to the calligraphic volume: “XIV AUG. 1925.” This appears to refer to when this passage was transcribed into the calligraphic volume. In the autumn of 1925, Jung went to Africa, together with Peter Baynes and George Beckwith. They left England on October 15, and he arrived back in Zürich on March 14, 1926.
291.The twelfth-century tale of the adulterous romance between the Cornish knight Tristan and the Irish princess Isolde has been retold in many versions, up to Wagner’s opera, which Jung referred to as an example of the visionary mode of artistic creation (“Psychology and poetry,” 1930, CW 15, §142).
292.This sentence is not in Black Book 4.
293.This sentence is not in Black Book 4.
294.Jung commented on the comparison of Christ with the serpent in Transformations and Symbols of the Libido (1912), CW B, §585 and in Aion (1950), CW 9, 2, §291.
295.Cf. Transformations and Symbols of the Libido (1912), CW B, §585.
296.Image legend: “9 January 1927 my friend Hermann Sigg died age 52.” Jung described this as “A luminous flower in the center, with stars rotating about it. Around the flower, walls with eight gates. The whole conceived as a transparent window.” This mandala was based on a dream noted on January 2, 1927 (see above, p. 85). From the “town map” that Jung drew, the relation between the dream and the painting is clear. He anonymously reproduced this in 1930 in “Commentary to the ‘Secret of the Golden Flower,’ ” from which this description is taken. He reproduced it again in 1952, and added the following commentary: “The rose in the center is depicted as a ruby, its outer ring being conceived as a wheel or a wall with gates (so that nothing can come out from inside or go in from outside). The mandala was a spontaneous product from the analysis of a male patient.” After narrating the dream, Jung added: “The dreamer went on: ‘I tried to paint this dream. But as so often happens, it came out rather different. The magnolia turned into a sort of rose made of ruby-colored glass. It shone like a four-rayed star. The square represents the wall of the park and at the same time a street leading round the park in a square. From it there radiate eight main streets, and from each of these eight side-streets, which meet in a shining red central point, rather like the Étoile in Paris. The acquaintance mentioned in the dream lived in a house at the corner of one of these stars.’ The mandala thus combines the classic motifs of flower, star, circle, precinct (temenos), and plan of city divided into quarters with citadel. ‘The whole thing seemed like a window opening on to eternity,’ wrote the dreamer” (“Concerning mandala symbolism,” CW 9, 1, §654–55). In 1955/56 he used this same expression to denote the illustration of the self (Mysterium Coniunctionis, CW 14, §763). On October 7, 1932, Jung showed this mandala in a seminar, and commented on it the next day. In this account, he states that the painting of the mandala preceded the dream: “You remember possibly the picture that I showed you last evening, the central stone and the little jewels round it. It is perhaps interesting if I tell you about the dream in connection with it. I was the perpetrator of that mandala at a time when I had not the slightest idea what a mandala was, and in my extreme modesty I thought, I am the jewel in the center and those little lights are surely very nice peosple who believe that they are also jewels, but smaller ones. . . I thought very well of myself that I was able to express myself like that: my marvelous center here and I am right in my heart.” He added that at first he did not recognize that the park was the same as the mandala which he had painted, and commented: “Now Liverpool is the center of life—liver is the center of life—and I am not the center, I am the fool who lives in a dark place somewhere, I am one of those little side lights. In that way my Western prejudice that I was the center of the mandala was corrected—that I am everything, the whole show, the king, the god” (The Psychology of Kundalini Yoga, p. 100). In Memories, Jung added some further details (pp. 223–24).
297.February 1, 1914.
298.Black Book 4 also has: “I lay these questions before you today, my soul” (p. 91). Here, the serpent is substituted for the soul.
299.Black Book 4: “You are playing Adam and Eve with me” (p. 93).
300.Jung’s marginal note to the calligraphic volume: “Visio.”
301.Black Book 4: “Satan crawls out of a dark hole with horns and tail, I pull him out by the hands” (p. 94).
302.The interlocutor is Satan.
303.For Jung’s account of the significance of Satan, see Answer to Job (1952), CW 11.
304.Jung discussed the issue of uniting the opposites at length in Psychological Types (1921), ch. 6, “The type problem in the poetic art.” The uniting of the opposites takes place through the production of the reconciling symbol.
305.Black Book 4 has instead of this sentence: “Matters are not as intellectual and generally ethical with us as in Monism” (p. 96). The reference is to Ernst Haeckel’s system of Monism, which Jung was critical of.
306.Cf. Jung, “Attempt at a psychological interpretation of the dogma of the trinity” (1940), CW 11.
307.Image legend: “1928. When I painted this image, which showed the golden well-fortified castle, Richard Wilhelm sent me from Frankfurt the Chinese, thousand-year-old text of the golden castle, the embryo of the immortal body. Ecclesia catholic et protestantes et seclusi in secreto. Aeon finitus. (The Catholic church and the Protestants and those secluded in secret. The end of an aeon.) Jung described this as: A mandala as a fortified city with wall and moat. Within, a broad moat surrounding a wall fortified with sixteen towers and with another inner moat. This moat encloses a central castle with golden roofs whose centre is a golden temple. He anonymously reproduced this in 1930 in “Commentary on ‘The Secret of the Golden Flower,’ ” from which this description is taken. He reproduced it again in 1952 in “Concerning mandala symbolism” and added the following commentary: “Painting of a medieval city with walls and moats, streets and churches, arranged quadratically. The inner city is again surrounded by walls and moats, like the Imperial City in Peking. The buildings all open inward, toward the center, represented by a castle with a golden roof. It too is surrounded by a moat. The ground round the castle is laid with black and white tiles, representing the united opposites. This mandala was done by a middle-aged man. . . A picture like this is unknown in Christian symbolism. The Heavenly Jerusalem of Revelation is known to everybody. Coming to the Indian world of ideas, we find the city of Brahma on the world mountain, Meru. We read in the Golden Flower: ‘The Book of the Yellow Castle says: “In the square inch field of the square foot house, life can be regulated.” The square foot house is the face. The square inch field in the face: what could that be other than the heavenly heart? In the middle of the square inch dwells the splendor. In the purple hall of the city of Jade dwells the God of Utmost Emptiness and Life.’ The Taoists call this center ‘the land of ancestors or golden castle’ ” (CW 9, 1, §691). On this mandala, see John Peck, The Visio Dorothei: Desert Context, Imperial Setting, Later Alignments: Studies in the Dreams and Visions of Saint Pachomius and Dorotheus, Son of Quintus, Thesis, C. G. Jung Institute, Zürich, 1992, pp. 183–85.
308.This line links with the beginning of Sermon one, Scrutinies (see below, p. 508).
309.A reference to the account of creation in the book of Genesis.
310.The Cabiri were the deities celebrated at the mysteries of Samothrace. They were held to be promoters of fertility and protectors of sailors. Friedrich Creuzer and Schelling held them to be the primal deities of Greek mythology, from which all others developed (Symbolik und Mythologie der alten Völker [Leipzig: Leske, 1810–23]; The Deities of Samothrace [1815], introduced and translated by R. F. Brown [Missoula, MT: Scholars Press, 1977]). Jung had copies of both of these works. They appear in Goethe’s Faust, part 2, act 2. Jung discussed the Cabiri in Transformations and Symbols of the Libido (1912, CW B §209–11). In 1940 Jung wrote: “The Cabiri are, in fact, the mysterious creative powers, the gnomes who work under the earth, i.e., below the threshold of consciousness, in order to supply us with lucky ideas. As imps and hobgoblins, however, they also lay all sorts of nasty tricks, keeping back names and dates that were ‘on the tip of the tongue,’ making us say the wrong thing, etc. They give an eye to everything that has not already been anticipated by consciousness and the functions at its disposal. . . deeper insight will show that the primitive and archaic qualities of the inferior function conceal all sorts of significant relationships and symbolic meanings, and instead of laughing off the Cabiri as ridiculous Tom Thumbs he may begin to suspect that they are a treasure-house of hidden wisdom” (“Attempt at a psychological interpretation of the dogma of the trinity,” CW 11, §244). Jung commented on the Cabiri scene in Faust in Psychology and Alchemy (1944, CW 12, §203f). The dialogue with the Cabiri that takes place here is not found in Black Book 4, but is in the Handwritten Draft. It may have been written separately; if so it would have been written prior to the summer of 1915.
311.Jung’s marginal note to the calligraphic volume: “Thereupon I laid this matter aside for three weeks.”
312.In “Transformation symbolism in the mass” (1941), Jung noted that the motif of the sword played an important role in alchemy and discussed its significance as an instrument of sacrifice, its divisive and separative functions. He noted that “The alchemical sword brings about the solutio or separatio elementorum, thereby restoring the original condition of chaos, so that a new and more perfect body can be produced by a new impressio formae or imaginatio” (CW 11, §357 & ff.).
313.The notion here of overcoming madness is close to Schelling’s distinction between the person who is overcome by madness and the person who manages to govern madness (see note 89, p. 149).
314.Jung’s marginal note to the calligraphic volume: “accipe quod tecum est. in collect. Mangeti in ultimis paginis” (Accept what is present. In the last pages of the Mangeti collection). It seems that this refers to the Bibliotheca chemica curiosa, seu rerum ad alchemiam pertinentium thesaurus instructissimus of J. J. Manget (1702), a collection of alchemical texts. Jung possessed a copy of this work, which has some slips of paper in it and some underlinings. Jung’s note possibly refers to the last woodcut of the Mutus Liber, which concludes volume one of the Bibliotheca chemica curiosa, a representation of the completion of the alchemical opus, with a man being lifted upward by angels, while another lies prostrate.
315.In Psychological Types, Jung commented on the symbolism of the tower in his discussion of the vision of the tower in The Shepherd of Hermas (CW 6, §390ff). In 1920, Jung began planning his tower at Bollingen.
316.February 2, 1914.
317.Black Book 4 has: “soul” (p. 110).
318.In Goethe’s Faust, Mephistopheles makes a pact with Faust that he will serve him in life on condition that Faust will serve him in the beyond (l. 1655).
319.The Corrected Draft has instead: “me with the serpent” (p. 521).
320.Jung’s marginal note to the calligraphic volume: “I still did not realize that I myself was this murderer.”
321.February 9, 1914. Black Book 4 has: “soul” (p. 114).
322.Polygamy used to be practiced in Turkey. It was officially banned by Ataturk in 1926.
323.Jung’s marginal note to the calligraphic volume: “In XI Cap. of the mystery play” (see above, p. 194).
324.Black Book 4 continues: “I: My principles—it sounds stupid—forgive me—but I have principles. Do not think these are stale moral principles, for these are insights that life has imposed on me. / Serpent: What principles are these?” (pp. 121–22).
325.The issue of master and slave morality featured prominently in the first essay of Nietzsche’s On the Genealogy of Morals (tr. D. Smith [Oxford: Oxford University Press, 1996]).
326.In the calligraphic volume, there is a blank space for a historiated initial.
327.February 11, 1914.
328.In Black Book 4, this figure is identified as “soul” (p. 131).
329.This sentence is added in the Draft, p. 533.
330.The transcription in the calligraphic volume of Liber Novus ends at this point. What follows here is transcribed from the Draft, pp. 533–56.
331.This is a quotation from I Corinthians 13:8. Near the end of his life, Jung cited it again in his reflections on love at the end of Memories (p. 387). In Black Book 4, the inscription is first given in Greek letters (p. 134).
332.This sentence is added in the Draft (p. 534).
333.This figure is not identified as the serpent in Black Book 4.
334.In Transformations and Symbols of the Libido (1912), Jung commented on the motif of hanging in folklore and mythology (CW B, §358).
335.There is a passage missing in Black Book 4, covering the end of this dialogue and the next paragraph.
336.Swedenborg described heavenly love as “loving uses for the sake of uses, or goods for the sake of goods, which a man performs for the Church, his country, human society, and a fellow-citizen,” differentiating it from self love and love of the world (Heaven and Its Wonders and Hell: From Things Heard and Seen, tr. J. Rendell [London: Swedenborg Society, 1920], §554f).
337.In the biblical account of creation, the sea and the land were separated on the third day.
338.John Keats’s poem “Ode to a Grecian Urn” ends with these lines: “Beauty is truth, truth beauty,—that is all / Ye know on earth, and all ye need to know.”
339.In Transformations and Symbols of the Libido (1912, CW B), Jung argued that in the course of psychological development, the individual had to free himself from the figure of the mother, as depicted in heroic myths (see ch. 6, “The battle for deliverance from the mother” ).
340.In Transformations and Symbols of the Libido (1912), while discussing his concept of libido, Jung referred to the cosmogonic significance of Eros in Hesiod’s Theogony, which he linked with the figure of Phanes in Orphism and with Kama, the Hindu God of love (CW B, §223).
341.In his later work, Jung gave importance to “enantiodromia,” the principle that everything turns into its opposite, which he attributed to Heraclitus. See Psychological Types (1921), CW 6, §708f.
342.In the biblical account of the flood, the ark came to rest on Mount Ararat (Genesis 8:4). Ararat is a dormant volcanic cone formerly in Armenia (now Turkey).
343.In Norse mythology, Odin was pierced by a spear and hung from the world tree, Yggdrasill, where he hung for nine nights until he found the runes, which gave him power.
344.February 23, 1914. In Black Book 4, the dialogue is with the soul, and this section begins with Jung asking her what is stopping him from getting back to his work, and she tells him that it is his ambition, He thought he had overcome it, but she said that he had simply negated it, and thus tells him the tale that follows (p. 171). On February 13, 1914, Jung gave a talk, “On dream symbolism,” to the Zürich Psychoanalytical Society. From March 30 to April 13, Jung vacationed in Italy.
345.Black Book 4 has: “ambition” (p. 180).
346.Black Book 4 has “work” instead of “son” in the next few lines (p. 180).
347.April 19, 1914. The preceding paragraph was added in the Draft.
348.In Black Book 5, this dialogue is with his soul (p. 29f).
349.Black Book 5 has instead “Soul” (p. 37).
350.Black Book 5 has instead “with my soul” (p. 38).
