Volume 12: Psychology and Alchemy
000396 Introduction to the religious and psychological problems of alchemy. In: Jung, C., Collected
Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 1-37).
A study of the relationship between alchemy and the psychic process of individuation is presented. The
need to address the problems of the psyche is based on the fact that the psyche is still one of the most
mysterious regions of experience. Observation of people points to the mystery of the psyche, and the
psychotherapeutic process itself constantly reveals that the object of the search, for both doctor and
patient, is the discovery of the whole man,--a greater man in the future. The difficulty and dangers of
this search are explored and the potentiality for wholeness in the true Christian "imitatio Christi" is
explained. An exhaustive discussion of the relationship between religion and the psyche is included,
with emphasis on the religious nature of the soul and on the contribution that psychology can make to
arriving at a better understanding of religious truths. A comparison is made between the archetypes of
the unconscious and religious dogmas, with stress on the importance of the Christ symbol as an
expression of the union of opposites. The alchemic view of the soul and the Godhead is presented and
contrasted with the Christian view. In alchemy, the search was also directed toward the discovery of the
seed of unity as is the psychotherapeutic process. The goal of this latter process is stated as enabling the
patient to be alone with the self. The methods, dangers and difficulties of arriving at this goal are
discussed. Reference is made to a dialogue between the patient and his shadow, which is to be followed
by the study of a series of dreams containing mandala symbols of the center or the goal. It is in
developing these symbols that the healing process or the solution for this particular person emerges. An
attempt is made to introduce the symbolism of alchemy and to relate it to Christianity, Gnosticism and
the psychotherapeutic process.
000397 Individual dream symbolism in relation to the alchemy: a study of the unconscious
processes at work in dreams. Introduction. I. The material. II. The method. In: Jung, C., Collected
works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 39-46).
In introducing a study of symbols of the individuation process as gathered from dream material, their
nature as images of an archetype depicting the production of a new center of personality is reasserted.
This center is called the self; i.e.,the center of the psyche containing both the conscious and the
unconscious. The images that refer directly and exclusively to this new center as it comes into
consciousness belong to a category referred to as mandala symbolism. A series of such symbols
arranged in chronological order and taken from over a thousand dreams and visual impressions produced
by a young man educated as a scientist is presented. For purposes of this study the first 400 dreams and
visions covering a period of nearly 10 months are examined. In order to provide conditions of
unprejudiced observation and recording, a student undertook the observation of the process with the
young man. The belief that interpretation of dreams cannot be approached with preconceived notions
about what is meant by any unconscious expression is repeated here. It should be assumed that every
dream, and every part of a dream, is unknown at the outset; therefore, attempts at interpretation can be
made only after making a careful examination of the context in which it appears.
000398 Individual dream symbolism in relation to the alchemy: a study of the unconscious
processes at work in dreams. 2. The initial dreams. In: Jung, C., Collected Works of C. G. Jung, Vol.
12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 47-93).
Extracts from 22 initial dreams and visual impressions obtained from the analysis of a young man are
presented. These extracts are interpreted in terms of their relation to the emergence into consciousness of
archetypal images referring to the self, the new center of the personality that results from the dialectical
process of individuation. These archetypal images are referred to as mandala symbolism. The purpose of
interpreting these initial dreams is to indicate the way in which the mandala symbolism makes a very
early appearance in the dream material and remains imbedded in it throughout. 11 references.
000399 Individual dream symbolism in relation to the alchemy: a study of the unconscious
processes at work in dreams. 3. The symbolism of the mandala. 1. Concerning the mandala. In:
Jung, C., Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p.
95-102).
An explanation of the origin of the mandala is given, and reasons are provided to justify the choice of
this term in describing dreams and visions in which the self is symbolized. The mandala is the ritual or
magic circle used in Lamaism; in Tantric yoga it is a yantra, or aid to contemplation. The Lamaic view
of the mandala is presented by means of a report of a conversation with a Lamaic priest that took place
in 1938. According to this view, a mandala is a mental image that can be created only by an instructed
Lama through the power of imagination. No mandala is like any other; all are individual. Thus, physical
representations of the mandala. found in monasteries and temples have no real significance; the true
mandala is always a mental image. Despite the alleged individual formation of Lamaic mandalas it is
noted that a certain unmistakable style and structure predominate. For example, they are all based on a
quaternary system and their contents are derived from Lamaic dogma. A strict distinction is made
between the Lamaic mandala, the khilkor, and the sidpekorlo, or Buddhist world wheel. The latter is
based on a tertiary system in which the three world principles are represented. It is asserted that these
Eastern symbols were not invented by religious leaders but that they originated in dreams and visions.
Their widespread distribution across cultures is cited as evidence. Mandalas used in ceremonies are of
great significance because their centers usually contain important religious figures, e.g. Shiva or the
Buddha. If, as surmised, mandalas symbolize a psychic center of the personality that is separate from the
ego, the high value placed on them is justified. I reference.
000400 Individual dream symbolism in relation to the alchemy: a study of the unconscious
processes at work in dreams. 3. The symbolism of the mandala. 11. The mandalas in the dreams.
In: Jung, C., Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p.
(p. 103-202).
Extracts of 59 dreams and visions, out of a continous series of more than 400 dreams obtained from the
analysis of a young man are presented. These excerpts were chosen for interpretation because they
provide clear evidence of mandala symbolism. Images of the circle frequently recur and are interpreted
as the symbol for the center of the personality; the mirror image is seen as a simile for the intellect.
Several of the symbols lend themselves to division into a quaternity which suggests a relation to
alchemical symbols. For this reason, alchemic writings are cited to show the connections between the
meaning behind the dream symbols and the meaning of such alchemical terms as lapis philosophorum,
king, sol niger and others. The progress of the striving of the unconcious to reach consciousness is
charted by means of the dream symbols, with special attention given to the symbols of conflict that this
emerging of the unconscious evokes. In the dream references to a glass containing gelatinous material
and to the uter-us, an acceptance of the anima as part of the dreamer's own psyche is seen. The approach
to reality takes the form of images related to specific time and place. The conclusion is drawn that the
symbols, eagle and ship, depict the consciousness transcending self. 37 references.
000401 Individual dream symbolism in relation to the alchemy: a study of the unconscious
processes at work in dreams. 3. The symbolism of the mandala. III. The vision of the world clock.
In: Jung, C., Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p.
(p. 203-214).
The Great Vision of a young man underlying analysis whose 400 dreams (5 of which are recorded in this
volume) were analyzed by a student of Jung's is examined in detail because of the impression of most
sublime harmony that it produced in the dreamer. Two heterogeneous systems interesting in the self and
standing in a functional relationship to one another are revealed, indicating the dreamer's desire for the
most complete union of opposites that is possible. The vision, that of a "world clock," is described as a
three dimensional mandala, a symbol of realization of the self. It is hypothesized that disparate and
incongruous elements have combined in this vision to produce an image that realizes the "intentions" of
the unconscious in the highest degree. Material from astrology, myth and religion is used in the
interpretation of the vision. Special reference is made to the writings of Guillaume de Digulleville, a
Norman poet, in explicating the significance of the world clock image. 5 references.
000402 Individual dream symbolism in relation to alchemy: a study of the unconscious processes
at work in dreams. 3. The symbolism of the mandala. IV. The symbols of the self. In: Jung, C.,
Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 215-223).
The development of the central symbol in a dream series produced in analysis is discussed. This, process
might be described in terms of a spiral process with the unconscious moving around a center, gradually
coming closer to it, while the characteristics of the center grow more distinct. On the other hand, the
center, in itself virtually unknowable, might be seen as a magnet acting on the disparate elements and
processes of the unconscious. The apparent quaternity of the central symbol is discussed with reference
to numerous historical and ethnological parallels. Upon examining such evidence, it is concluded that
there is some psychic element expressing itself through the quaternity. The element is named the "self."
The archetypal nature of mandala symbolism is examined. It is felt that the facts are better served if it is
assumed that the increase in the clarity and frequency of the mandala motif is due to a more accurate
perception of an already existing "type" rather than to something generated in the course of the dream
series.
000403 Religious ideas in alchemy: an historical survey of alchemical ideas. 1. Basic concepts of
alchemy. I. Introduction. II. The alchemical process and its stages. III. Conceptions and symbols
of the goal. In: Jung, C., Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press,
1968. 571 p. (p. 225-241).
A brief review of the causes for the demise of alchemy is presented, followed by a description of the
alchemical process and goal. Although the 18th century spirit of enlightenment and the scientific
discovery of chemistry could be applied to explain the death of alchemy, the real cause resided in its
own increasing obscurity, resulting from devotion to the allegories and speculations of Hermetic
philosophy. Despite its inability to survive into the scientific ages, alchemy is seen to merit attention
because of the psychic projections contained in the writings of its practitioners. That the art was filled
with psychic projections is evidenced by the fact that, although alchemy was a chemical process, the
description and ingredients of this process varied from author to author. There were, however, four
stages posited by all the alchemists in the beginning, and these were characterized by the four colors:
black, white, yellow, red. In the 15th century yellow was eliminated. The initial state, nigredo may be
produced by the separation of elements, then the union of opposites (comunctio) is performed, followed
by the death of the product of this union (mortificatio). From this the washing (baptisma) leads to the
albedo or whiteness and the release of the soul at the death of the last stage and its reunion with the
body. This was considered to be the first goal of the process: the silver or moon condition. Red was
produced by intensifying the fire, and the gold or sun was the result of the 11 chymical wedding" of red
and white, symbolic of the King and Queen. Just as the processes varied, so did the conceptions and
symbols of the goal. Certain characteristics were held by all, however: fire and water and the Hermetic
vessel, for instance, were commonly associated with the prima materia and the storie. The characteristics
of each of these symbols were often paradoxical and even antithetical to one another, yet all had a
symbolic significance. In 1576, Joseph Quercetanus established a sequence of twelve operations but,
since each of the twelve was open to multiple definition, the variations remained almost infinite. It is
concluded that, although alchemy produced very little in terms of the knowledge of modern chemistry, it
was a process filled with a sense of adventure due to the constant excitement of the quest and the hope
of discovering the precious gold. 11 references.
000404 Religious ideas in alchemy: an historical survey of alchemical ideas. 2. The psychic nature
of the alchemical work. 1. The projection of psychic contents. In: Jung, C., Collected Works of C. G.
Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p, 242-254).
It is asserted that the alchemical opus deals less with chemical experiments as such than with what is
described as 1. something resembling psychic processes expressed in pseudochemical language." It is
proposed that the real root of alchemy lies not in philosophical doctrine but in the projections of the
individual investigator. By this is meant that the investigator, while working on his chemical
experiments, had certain psychic experiences that appeared to him as part of the actual chemical process.
As this is a matter of psychological projection, and therefore unconscious, the alchemist would
experience his projection as a property of matter. Thus, he was in reality experiencing his own
unconscious. Excerpts from several alchemic manuscripts are presented in support of the notion that
psychic projection of unconscious material onto chemical substances is the key to understanding the
alchemic opus. 19 references.
000405 Religious ideas in alchemy: an historical survey of alchemical ideas. 2. The psychic nature
of the alchemical work. 11. The mental attitude toward the opus. In: Jung, C., Collected Works of C.
G. Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 255-274).
The psyche's relation to alchemical work in terms- of the psychological requirements of the individual
alchemist is examined. A number of passages from alchemic literature are presented. These examples
indicate that, in order for the opus to be successful, the operator must be in possession of a proper -
psychological set." This evidence is interpreted as indicating that the alchemic authors believed the
essential secret of their art to lie hidden in the human mind, or what is termed the unconscious in
analytical psychology. It is observed that the texts stress the importance of understanding and
intelligence, not only because superior inteffigence is needed in the performance of the art, but because
"it is assumed that a species of magical power capable of transforming even brute matter dwells in the
human mind." It is pointed out that alchemy, from its beginning, had a dual nature: on the one hand it
was a chemical work; on the other it was a psychological process. Its psychic nature was partially
conscious and partially the result of unconscious projections, as is seen in the various transformations of
matter. This close connection between the psyche of the investigator and the alchemical work can also
be seen in the emphasis placed on the mental attitude of the worker and on the virtues he was exhorted
to cultivate. 23 references.
000406 Religious ideas in alchemy: an historical survey of alchemical ideas. 2. The psychic nature
of The alchemical work. III. Meditation and imagination. In: Jung, C., Collected Works of C. G.
Jung, Vol. 12. 2nd ed., Princeton University Press, 1968. 571 p. (p. 274-280).
An explication of the specific uses of the terms meditatio and imaginatio is undertaken with special
reference to Ruland's "Lexicon alchemiae." Ruland's definition of meditatio proves beyond doubt that
when alchemists speak of meditari they do not simply mean meditation or cogitation but explicitly an
inner dialogue implying a living relationship with the 11 answering voice of the 'other' in ourselves," i.e.
of the unconscious. Several other texts are cited to substantiate this explanation. Ruland's Lexicon also
provides clarification of the particular importance of the term imaginatio in the alchemic opus. The act
of imagining (imaginatio) was perceived as an activity that did not simply create fantasy but rather as
producing something more corporeal, a "subtle body," semispiritual in nature. The imaginatio was thus a
physical activity that could be fitted into the cycle of chemical or material changes. In this way the
alchemist related himself not only to the conscious but directly to the very substance which he hoped to
transform through the power of imagination.
000407 Religious ideas in alchemy: an historical survey of alchemical ideas. 2. The psychic nature
of the alchemical work. IV. Soul and body. In: Jung, C., Collected Works of C. G, Jung, Vol. 12. 2nd
ed., Princeton University Press, 1968. 571 p. (p. 280-287).
The meaning of the terms, soul and body, and their relation to each other in alchemical thought are
examined. The soul, or anima corporalis, is seen as corresponding to the unconscious, if this is
understood to be the psychic phenomenon that mediates between consciousness and the physiological
functions of the body. The fusion of opposites is characteristic of every psychic event in the unconscious
state, thus the anima corporalis is also spiritualis. According to alchemical literature, the soul is only
partly confined in the body, an analogy to God being only partly enclosed in the body of the world. As
God's "imagining" is seen as the act of creation, the imaginatio, in alchemic terms, gives the key to the
goal of alchemy: to project and make actual those contents of the unconscious which do not exist in
nature. The contents of the unconscious have an a priori archetypal character. The medium through
which this goal is realized is neither mind nor matter, body nor soul, but a realm of subtle reality
adequately expressed only by the symbol, since the latter is neither abstract nor concrete, rational nor
irrational, real nor unreal, but both. 2 references.
000408 Religious ideas in alchemy: an historical survey of alchemical ideas. 3. The work. I. The
method. In: Jung, C., Collected Works of C. G. Jung, Vol. 12. 2nd ed., Princeton University Press,
1968. 571 p. (p. 288-295).
The nature of the alchemical work is described and reasons are given to explain its obscurity. Part of
work, the operatio, was practical in the sense that it dealt with a series of chemical experiments, yet it
remained shrouded in obscurity due to the fact that each alchemist built an individual edifice of ideas
composed
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