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Read through the most famous quotes by topic #jungian
Padre Blazon was almost shouting by this time, and I had to hush him. People in the restaurant were staring, and one or two of the ladies of devout appearance were heaving their bosoms indignantly. He swept the room with the wild eyes of a conspirator in a melodrama and dropped his voice to a hiss. Fragments of food, ejected from his mouth by this jet, flew about the table. [p.201] ↗
Need we go into details about what I said to Judy? I am no poet, and I suppose what I said was very much what everybody always says, and although I remember her as speaking golden words, I cannot recall precisely anything she said. If love is to be watched and listened to without embarrassment, it must be transmuted into art, and I don't know how to do that, and it is not what I have come to Zurich to learn. ↗
[...] and I said to myself: Aha. George used to have a way of coping." "When?" I said, confused. "You mean, when I was a kid?" "Have you ever heard," you said, "of the idea of the shadow self?" Sure, I told you. It was one of the Jungian archetypes—one of the symbols of the collective unconscious. That was pretty much all I remembered from college. "Not bad. Do you know what function it plays, in analysis?" you asked. I shook my head. You continued. "The shadow is a frequent figure in dreams. It can appear as a kind of doppelgänger; an evil twin. It embodies our repressed desires. The dark stuff. The shameful stuff. The you-want-to-fuck-your-mother stuff." (48) ↗
There is no religion and no philosophy that can give us a comprehensive answer to the whole of our problems, and the abandonment and isolation of the individual who is given no answer, or only inadequate answers, to his question lead to a situation in which more and more cheap, obvious solutions and answers are sought and provided. As, everywhere and in all departments of life, there are contradictory schools and parties, and an equal number of contradictory answers, one of the most frequent reactions is that modern man ceases to ask questions and takes refuge in a conception that considers only the most obvious, superficial aspects, and becomes skeptical, nihilistic, and egocentric. Or, alternatively, he tries to solve all his problems by plunging headlong into a collective situation and a collective conviction, and seeks to redeem himself in this way. ↗
...in microphysics the observer interferes with the experiment in a way that can't be measured and that therefore can't be eliminated. No natural laws can be formulated, saying "such-and-such will happen in every case." All the microphysicist can say is "such-and-such is, according to statistical probability, likely to happen." This naturally represents a tremendous problem for our classical physical thinking. It requires a consideration, in a scientific experiment, of the mental outlook of the participant-observer: It could this be said that scientists can no longer hope to describe any aspects or qualities of outer objects in a completely independent, "objective" manner. ↗
#jungian #limitations #man-and-his-symbols #micro-physics #objective
On the lowest level, this loss of soul turns the man into the hen-pecked husband who lives with his wife as though she were his mother upon whom he is solely dependent in all things having to do with emotions and the inner life. But even the relatively positive case where the woman is the mistress of the inner domain and mother of the home who simultaneously has the responsibility for dealing with all the man's questions and problems having to do with emotions and the inner life, even this leads to a lack of emotional vitality and sterile one-sidedness in the man. He discharges only the "outer" and "rational" affairs of life, profession, politics, etc. Owing to his loss of soul, the world he has shaped becomes a patriarchal world that, in its soullessness, presents an unprecedented danger for humanity. In this context we cannot delve further into the significance of a full development of the archetypal feminine potential for a new, future society. ↗
men should not be sexing their women in the missionary position because they are facing away from the sky. Instead of looking down, men are to look up. To the vastness of Father Sky ↗
While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity. From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic. ↗
I must quote from Dr. Faustus, with which the tragedy ends: "Often he talked of eternal grace, the poor man, and I don't know if it will be enough. But an understanding heart, believe me, is enough for everything." Let us understand these words correctly. They are not proud or arrogant; on the contrary they are desperately modest. We really do not know any longer whether grace is enough, precisely because we are as we are and are beginning to see ourselves as we are. But at a time of overwhelming crisis, the questionable nature of grace, or rather our knowledge that we are unworthy of grace, compels us to understand and love mankind, the fallible mankind that we ourselves are. Behind this abysmal crisis, the archetype of the Eternal Feminine as earth and as Sophia would seem to be discernible; it is no accident that these words are spoken by Frau Schweigestill, the mother. That is to say, it is precisely in chaos, in hell, that the New makes its appearance. Did not Kwanyin descend into hell rather than spend her time with the serene music makers in heaven? ↗
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